The Danberrys

Shine

Self-Released, 2020

8/10

Listen to Shine

A Nashville husband and wife duo with a penchant for acoustic sounds, this 3rd album has The Danberrys hitting a career high as they spread their wings into rock, blues and folk territory with the aptly titled Shine.

The pair start the album with the title track, where blues guitars and a hazy atmosphere align with Dorthy Daniel’s soaring pipes, and “Holding The Bag” continues the landscape with shimmering melodies amid the cautious delivery.

In the middle, “The River Is Wide” benefits greatly from playful tambourine as the tune builds into a lush pop-rock anthem with some funk, while “The Mountain” is pure power and melody with expressive singing from Darrell Scott. “Love Conquers War”, one of the album’s best, then offers dynamic instrumentation in a charming, sublime execution of rootsy sounds.

Near the end, “Maddie’s Ghost” moves with a swift pace of warm rock’n’roll, and “Rain” exits the listen Ben Debarry’s strong pipes complementing Daniel on the gorgeous duet.

DeBarry and Daniel create a timeless brand of Americana here, where brass, mandolin, and upright bass from their very capable band help illuminate these tunes that you won’t forget anytime soon.

Travels well with: Sons Of Bill- Oh God Ma’am; Lindsay Lou- Southland

Roe Family Singers

Roll Up The Rug! It’s The Roe Family Singers

Bonfire, 2020

8/10

Listen to Roll Up The Rug!

An outfit spearheaded by the husband and wife duo of Kim and Quillan Roe, the Minnesotans deliver originals and traditionals on the infectiously fun Roll Up The Rug? It’s The Roe Family Singers.

“What Did He Say?” starts the listen with warm vocal harmonies in the fluent picking, bluegrass setting, and the Bill Monroe classic, “The Rocky Road Blues”, follows with a tuneful old time feel amid the soothing atmosphere.

Of the covers, Neil Young’s “Daddy Went Walkin’” soars high with a timeless spirit that does justice to the original, while “Hey, Good Lookin’” puts a pretty spin on the legendary Hank Williams tune.

The originals are just as memorable, and include the string acrobatics of the swift yet precise “Don’t Worry About The Rich Man”, though it’s the playful and charming traditional “The Fox” that steals the show.

While Kim handles vocals, autoharp, banjoele, washboard and spoons, Quillan holds down vocals, banjo, and archtop guitar. Additionally, quite a few players contribute fiddles, mandolin and a jug, among other noisemakers. Though their early days had the pair covering Johnny and June Carter Cash, these days the Roe Family Singers are really coming into their own with folk, bluegrass and country influences that could certainly soundtrack just about any rural festivities.

Travels well with: JB & Jamie Dailey- Step Back In Time; Flashback- Blues Around My Cabin

Gordon Thomas Ward

Eiderdown

Self-Released, 2020

8/10

Listen to Eiderdown

The renaissance man Gordon Thomas Ward returns with Eiderdown, a double disc where influences from the ‘60s and ‘70s seep into his timeless brand of folk rock.

The title track starts the listen with the sound of water as Ward’s expressive singing is complemented by Caroline Cotter’s backing vocals as the music flows with organic beauty, and “Désirée” follows with a cautious approach of warm melody amid fluid acoustic strumming.

Disc 1 highlights include the strategic cello of the soft “Just For You”, while “Piety Of Thieves” displays Ward’s wide vocal range in the bare balladry that’s immediately charming. “Dreams” exits the first installment with a folky delivery in its agile, lullaby template.

Disc 2 leads with the upbeat pace of the lyrically strong “The Ghost Of Hugh Thompson”, and continues with the soaring melody of “Truth (I Will Rise)”. “Still Calling” is the standout track here, where a violin adds much to the introspective atmosphere. “Somerset Lullaby” finishes the listen with a precise instrumental that pays tribute to Ward’s childhood land.

A perfectly splendid singer-songwriter album, even with 16 tracks Ward never out welcomes his stay, as his very developed lyricism is just as admirable as the playful, authentic song craft that defines the entire effort.

Travels well with: Glenn Thomas- Reassure Me There’s A Window; Andrew Hibbard- Andrew Hibbard

Marla Leigh

Rhythms Of Tof Miriam

Self-Released, 2020

8/10

Listen to Rhythms Of Tof Miriam

One of a small handful of female frame drummers in the world today, Marla Leigh comes through with a much anticipated debut album, where she’s accompanied by several world class musicians as she pens a spiritual record that’s steeped in influence from ancient cultures.

The title track starts with an oud and a ney on hand as Leigh’s bold percussion guides with world music creativity, and this continues to the flute friendly and rhythmic “Awakening”, as well as the mandoi and kimenche of the string focused “Longing”.

The back half of the listen is equally enchanting and includes 9 minutes of the reflective “Dawn Of Truth (Flute Savasana)”, which flows with a mysterious quality, while the extended version of the title track recruits frame drums from Gavriel Fiske on the soothing yet firm elegance. “Ahava Abba” finishes the listen heavy on cello, violin and viola, and it makes for a gorgeous orchestral exit with a track penned by her father’s side during his final days.

A classically trained artist, Leigh is also an educator of drumming, and her vast talent unfolds here with awe and wonder in a very unique and exciting first- and hopefully not only- album.

Travels well with: Glen Velez- Nafas; Alfred Ladzepo- Horsu

Glenn Thomas

Reassure Me There’s A Window

Palace Flophouse, 2020

9/10

Listen to Reassure Me There’s A Window

A New England singer-songwriter with an affinity for rich melodies and folky, Americana song craft, Reassure Me There’s A Window offers us 11 tunes where a poetic and intimate delivery makes an immediate impression.

Thomas starts the listen with the shimmering folk qualities of the dreamy “All You Can Do”, where soft yet expressive singing flows alongside the strings, and the acoustic guitar fueled title track follows with sublime beauty as pedal steel adds much to the atmosphere.

Elsewhere, “Shy Hinges” glows with a country spirit amid the punchy melodies and piano, while the vocally strong “There’s Not A Thing” recruits some chamber pop ideas amid the horn friendly, finger picking acrobatics. “Catherine Ames”, the album highlight, then utilizes precise guitar playing as Thomas finds a gentle, textured place to reside with literary references.

Closer to the end, “Initials” parallels the warm beauty achieved by artists like Iron & Wine in its bare delivery, and one of the fullest tunes, “Whaddya’ Know”, finishes out the listen with an upbeat and glorious pace of festive pop-rock.

Even though this is the first solo effort for Thomas, he’s cut his teeth fronting Wild Sun, and here on his own he draws parallels to Paul Simon or Mark Knopfler with his timeless approach that stands out in the very crowded indie-folk pool.

Travels well with: Andrew Combs- Ideal Man; Justin Townes Earle- Kids In The Street

Pawl & ttypes

Motel

Self-Released, 2020

8/10

Listen to Motel

A collaborative concept album, the artists Tim and Paul Krauss actually grew up in a midwest motel that their parents owned, and they documented that experience here with Pawl. who has a rich history in indie-pop, folk, jazz, rock and hip-hop.

Ttypes starts the listen with the snappy, upbeat excursion into harmonic pop textures on “Good Boy Young”, and Pawl follows with a piano friendly and dreamy delivery of fluid pop-rock on the title track.

Of the ttypes tunes, the soulful vocals of “The Shore” and highly melodic “Captured Light” certainly stand out, though “Sky Men/ Space Lights” is the highlight tune as the hazy pop flows alongside pretty dual gender vocals.

Pawl’s best selections include the soft and soothing “Home”, as well as the rhythmic “Newspaper Mountains”, which brings a fuller moment of agile instrumentation. “Vacant”, the best tune between both bands, offers a swift display of breezy melodies in a timeless fashion that draws parallels to Brian Wilson.

Michigan has never been short on exciting indie-rock, and Pawl & ttypes continue that tradition with a charming and hook heavy affair that’s got plenty of singer-songwriter spirit and even more imagination that’s quite infectious.

Travels well with: The Apples In Stereo- New Magnetic Wonder; Dressy Bessy- Fast Faster Disaster

Blind Uncle Harry

The Gospel According To Blind Uncle Harry

Self-Released, 2020

8/10

Listen to The Gospel According To Blind Uncle Harry

A Bloomington, Indiana native with a penchant for sing-alongs and political wordplay in his alt-country and protest folk songs, Blind Uncle Harry delivers a charming batch of playful storytelling that’s not short on harmonies and bluegrass nods, too.

“Long Lonesome Tune” opens up the album with harmonica and violin before dual gender vocals enter the folksy, jam band fun, and “D Chord Hammer Ditty” follows with a trio of singers and upright bass highlighting the dreamy setting.

Near the middle, “Uh Oh (Sounds Like Somebody Pissed Off Jesus)” starts a cappella before a busy display of quirky Americana enters, while “Savannah Kentuckiana”, one of the album’s best, recruits complementary female vocals from Shelby Jo Everett in the ultra melodic country influenced tune.

Further on, “Emma Lynn” moves soft and agile with just an acoustic guitar and violin to accompany the breezy setting, and “Sunny Afternoon” unfolds like a campfire-esque anthem that you won’t forget anytime soon. “It’s All Fucked (Not Your Fault)” finishes the listen with his own brand of gospel that makes great use of a dobro on his commentary of the grim status quo.

Harry is actually Chris Doran, although he had an uncle named Harry who was blind and a musician, and the songwriter sure has a way with words on this clever, sometimes comical, and other times political record that all fans of Billy Bragg should familiarize themselves with.

Travels well with: Todd Snider- Cash Cabin Sessions, Vol.3; Hamell On Trial- The Happiest Man In The World

Crystal Shawanda

Church House Blues

True North, 2020

8/10

Listen to Church House Blues

A Canadian artist with a healthy set of pipes who knows her way around a blues tune, Crystal Shawanda is in fine company here as players from Lynyrd Skynyrd and Johnny Cash help her flesh out these powerful, blues oriented tracks.

The title track gets the album started off with rhythmic blues as Shawanda’s gritty yet melodic vocals guide the soulful setting, and “Evil Memory” follows with rich, expressive singing in the stripped back climate of timeless beauty where a piano adds much to the formula.

In the middle, “When It Comes To Love” offers a lush and emotive tune with vivid storytelling, while “Hey Love” flows with an upbeat approach of warm guitar work, crisp percussion and soaring vocals. “Bigger Than The Blues”, one of the album’s best, then resides close to gospel territory with incredible singing from Shawanda that few could replicate.

The album ends strong with “I Can’t Take It”, and “New Orleans Is Sinking”, where the former brings guitar solos to the passionate execution and the latter gets playful and rugged with a sophisticated instrumentation from the esteemed band..

Shawanda gained a bit of fame in 2007 when her country album charted and kept her on the road touring to promote it. However, knowing that her true love was the blues, she then left her record label to go out on her own in a different direction, and that risk has produced 4 excellent blues efforts that any and all fans of the genre would be wise to seek out.

Travels well with: Casey Hensley- Good As Gone; Heather Newman- Rise From The Flames

Bassel & The Supernaturals

Smoke & Mirrors

Self-Released, 2020

9/10

Listen to Smoke & Mirrors

Bassel Almadani returns with his esteemed band for a 3rd album where lyrical topics surround Bassel’s Syrian-American heritage, as well as love, loss and war on the career highlight (so far, anyway) Smoke & Mirrors.

“Calculated Love” starts the listen with spirited guitar work and lively horns in the funk filled and soulful execution that’s not short on grooves, and “Stepping Back In Time” continues the setting with a snappy rock’n’roll fueled tune of soothing backing vocals amid summery rhythms.

Even though there’s just 9 tracks, the band make the most of each one, as “Aleppo”, with Ashkur, flows with a dreamy quality of busy brass and gliding melody that tips it hat to funk and disco, while “Skipping Heartbeats” trims the volume back a bit with jazz influences. “Breathe”, although the shortest tune, leaves an impression with breathy vocals and a hazy delivery of timeless beauty.

The album is bookended well, with the elegant R&B sounds and darker quality of “Black Water”, and “Mistakes” closes the affair playful and upbeat, where strong vocal work aligns with the diverse instrumentation.

With a release date that’s timed with Syrian Independence Day (April 17), Smoke & Mirrors is a listen that’s entirely substance, as Bassel and company create some of the most topical and thriving neo-soul and funk being made today.

Travels well with: Diplomats Of Solid Sound- A Higher Place; Monophonics- Mirrors

Harry Cloud

The Pig And The Machine

Whiteworm, 2020

9/10

Listen to The Pig And The Machine

A singer-songwriter and multi-instrumentalist who now calls Los Angeles home, Harry Cloud, has been involved in Orphan Goggles, Fannyland and COPS, clearly doesn’t appear to be interested in anything mundane, as this 5th solo album defies categorization in ways that bring punk, metal and alt-rock ideas to mind.

In a very bold move, Cloud puts one of the longest tracks in the lead off position as the orchestral dirge of “Fantasia” sets an ominous mood that builds into a soaring, majestic display of metallic yet melodic sounds, and “Momo Island” continues the creativity with some dreamy garage-rock that’s still a bit forceful but mostly revolves around gritty melody.

With 14 tracks on hand, there’s much covered here and it’s always unpredictable. Near the middle, “Asexual Bunnyrabbit” unfolds almost as if a twisted lullaby that bursts into a chunky alt-rocker, while “Sam I Am” flirts with doom metal sensibilities as searing guitar solos enter the turbulent delivery. “Bower”, an album highlight, then barks with a rowdy rock’n’roll spirit meets horror punk sort of meshing.

Towards the end, the acoustic beauty of “Look What You Made Me Do” is a pleasant surprise as keys enter the tuneful equation, and the title track finishes off the listen with a fuzzed out affair that gets cozy with psyche-rock, too.

If subgenres like stoner rock and doom metal mean anything to you, or you just prefer intimidating yet inviting music, The Pig And The Machine should certainly occupy space in your collection and expect to revisit it often.

Travels well with: Castle Black- Dead In A Dream; Tyson Meade- Robbing The Nuclear Family

Lily Frost

Retro-Moderne

Slammin, 2019

8/10

Listen to Retro-Moderne

A Canadian songstress who has been active since the late ‘80s, Lily Frost has amassed an impressive arsenal of 14 LPs, with the most recent and aptly titled Retro-Moderne certainly being at the top of that list.

“Wild Is The Wind” starts the listen with a cautious atmosphere as Frost’s versatile pipes and restrained guitars create a mysterious opening, and “Lay Low” follows with hypnotic rhythm in the club friendly display tuneful dynamics.

In the middle, “Cruel World (Nickel & Dime)” moves with a playful approach that’s got plenty of pop friendly sensibilities and dub-step ideas that you could dance to, while “Rainbow Glasses” continues the upbeat appeal with dreamy melodies that swirl with a strong presence. “Dud” one of the record’s best, then recruits a stylish execution of girl group nostalgia that brings us back to the ‘60s.

Close to the end, her cover of “Bang Bang (My Baby Shot Me Down)” simmers slowly and with plenty of emotion, and “It’s The Love” exits the listen amid a cinematic quality that’s aglow with twinkling, pretty musicianship that resonates long after the music stops.

An artist who has seen widespread placement in popular television shows, Frost writes the complete album, with Retro-Moderne, where each track flows into another and brings a creative vision of elegant and adventurousness that is highlighted superbly by the production skills of Gus Van Go.

Travels well with: Jill Barber- Metaphora; Mindy Gledhill- Anchor

Chrissie Romano Band

Photo

Self-Released, 2018

8/10

Listen to Photo

A rising outfit from Rochester, New York who are spearheaded by Chrissie Romano’s guitar and versatile pipes, this debut album brings a heartfelt approach to timeless songwriting via memorable, glorious tunes that are universally relatable.

The title track starts the listen with sophisticated melodies as keys from Adam Whiting help accent Romano’s expressive and pretty pipes in the pop-rock fun, and “Stay” follows with a more cautious approach as soaring vocals highlight the flowing rhythm section of Ken Romano and John Pasquarella.

Near the middle, “Dance Outside” indeed brings a dance mood to the energetic and bouncy delivery, while the soulful acoustic strumming of “Bittersweet And Unkind” finds a playful place to reside with plenty of dynamic instrumentation. “Broke Mine”, one of the album’s best, then recruits bluesy guitars as the setting turns toward balladry, where Romano’s singing shines bright with plenty of power and emotion.

Near the end, the breezy folk qualities of “Morgan’s Song” leave an immediate impression, and “Romeo” exits the listen with punchy bass lines amid the lively pop melodies.

In a time when so many bands are twisting and integrating countless genres into an inevitable mess of oddness, sometimes it’s nice to just hear straightforward, thoughtful rock’n’roll that’s easy to absorb and hard to forget, and the Chrissie Romano Band seem to have found the niche well.

Travels well with: Skand- Dive; Scarlet Rivera- All Of Me

Bottle Next

Bad Horses: Bonus & B-sides

Self-Released, 2018

8/10

Listen to Bad Horses: Bonus & B-Sides

A quick listen that includes 3 unreleased tunes from the Bad Horses sessions as well as 3 that were recorded live and include a cover, the French duo Bottle Next deliver a unique brand of hard-folk where metallic and indie-rock ideas are also in attendance.

“Push Me Up” starts the listen with a firm groove as thick guitars and agile percussion guides the propulsive rocker, and “Old” continues the energy with some throwback grunge nodsas strong vocals enter the precise yet rowdy atmosphere.

The back half of the EP is recorded live, though it’s not always easy to tell with the excellent recording quality. “The Shooting Star”, a Gojira cover, then brings a darker quality into an almost metallic folk sound, while “Bottlenecks” offers one of the most turbulent tracks, but one that’s still anchored by meticulous musicianship that soars while writhing with hard rock momentum. “Friend’s Faces” exits the listen with proficient acoustic strumming alongside a quick pace of jam style execution that’s never short on melodies.

Bottle Next are nothing if not atypical, as they put an interesting angle on rock music that’s chocked full of creativity from Pierre Rettien and Martin Ecuer. While I generally feel that a B-sides and live disc isn’t the best place to start with a band you’re unfamiliar with, in this case it just made me want to hear more.

Travels well with: Rival Sons- Hollow Bones; Royal Blood- Royal Blood

Skylar Gudasz

Cinema

Suah Sounds, 2020

8/10

Listen to Cinema

On this sophomore album, the multi-instrumentalist Skylar Gudasz returns with her inimitable vocals and personal wordplay as she creates a unique brand of Americana via her thoughtful song craft.

“Femme Fatale” starts the listen soft and soulful, where atmosphere is key as piano helps illuminate the introspective folk setting with raw lyrics, and “Actress” follows with moments of louder strumming amid the more pop oriented cautiousness.

Elsewhere, the breathy “Rider” moves with a sparse quality of timeless beauty that flirts with country, while the acoustic guitar fueled “Animal” is pure folky-pop genius. “Go Away” then recruits an upbeat approach with bouncy keys and crisp percussion in the playful album highlight.

Closer to the end, “Have We Met, Sir” flows with piano balladry and expressive, eloquent singing, and “Waitress” finishes out the listen with just a gentle guitar accompanying Gudasz’s incredible pipes on the emotive exit.

Certainly a darker effort than her previous work, Gudasz undoubtedly draws comparisons to Joni Mitchell with her stirring vocals, and her mood often points toward Nick Drake as the mesmerizing, rich intimacy will certainly not keep the songstress in obscurity for much longer.

Travels well with: Daughter Of Swords- Dawnbreaker; Mary Bragg- Violets As Camouflage

Tweed

Moves

Self-Released, 2020

8/10

Listen to Moves

A Philadelphia outfit who don’t stay in one place very long, Tweed dance around many genres under their electro-rock template, where there’s never any shortage of grooves or melody in their energetic formula on this debut album.

The title track starts the listen electro-pop friendly with plenty of grooves in the dance filled setting that also tips it hat to jazz, and “Leap Of Faith” continues the liveliness with a stylish delivery of ‘80s influenced fun that makes great use of synth.

In the middle, “Remember, You Forgot” brings some vocal effects to the funk and jam fueled fun, while “Feargasm” recruits hints of psyche-rock in the spacey climate as it moves with a swift pace of disco savvy melodies.

The band continue the strong song craft until the end, where “Creature Of Habit” trims the tempo back to an atmospheric and dreamy display, and “Save Yourself” exits the listen playful with dynamics that showcase their varied talent as processed vocals, calm moments of beauty and violin from Charlie Field enter the proficient finish.

Although this is their first album, it hardly feels like it, as all members contribute vocals on this well textured and hook friendly affair that’s diverse in exciting ways and leaves the listener wanting more.

Travels well with: Lotus- Monks; Skinshape- Filoxiny

JB & Jamie Dailey

Step Back In Time

Pinecastle, 2020

8/10

Listen to Step Back In Time

A father and son collaboration, Jamie Dailey, who is probably best known for his work in Dailey & Vincent, works with his father, JB, as the pair birth a very memorable brand of bluegrass and gospel as they reinvent 13 classic tunes.

“Ashes Of Love” starts the listen with sublime picking in the highly melodic setting with strong vocal work, and this formula continues on to the subdued beauty of “White Oak On The Hill”, as well as the emotive “Will The Angels Play Their Harps For Me”.

Further along, “It Was Only The Wind” finds a dreamy place to reside with ballad like traces amid soaring vocal harmonies, while “Great Speckled Bird” offers an instrumental of dynamic, precise musicianship. “Behind These Prison Walls”, one of the album’s best, then highlights the incredible singing, and the restrained instrumentation is nothing to spit at, either.

“Lily Dale” and “Gloryland” bookend the listen, where the former relies heavily on strings in the vocal-less climate, and the latter exits the listen A cappella, where the gospel leanings shine bright and Darrin Vincent’s baritone pipes are especially noteworthy.

JB has been diagnosed with Parkinson’s disease, which affects both his playing and singing. However, the delivery here is flawless, as both father and son perform with much heart and sincerity, effectively making these covers their own.

Travels well with: Flashback- Blues Around My Cabin; Bradley & Adair- Oh Darlin

Andrew Hibbard

Andrew Hibbard

Sofaburn, 2020

8/10

Listen to Andrew Hibbard

A poet and singer-songwriter from Ohio, though Andrew Hibbard is still a youngster, he plays like an old soul as influences like Bob Dylan, Tom Waits and Hank Williams are present on this 3rd album where the troubadour blends folk, country and blues with much appeal.

“Changes” starts the listen warm and inviting with an old time feel as Hibbard’s distinct pipes bring us back many decades alongside soothing pedal steel, and “Homewrecker” follows with a fluid folk tune amid breezy harmonica.

In the middle, “I’m Comin’ Over Tonight” unfolds with a poetic feel as percussion adds much to the atmosphere, while “Talkin’ Foolin’ Around Blues” offers spoken word alongside a hypnotic melody. “All Alone”, one of the album’s best, then uses brushed percussion and aching pedal steel in the pretty, stirring setting.

Near the end, the bouncy delivery of “I Wanna Go Back Home” takes nods to retro country, and “Running From The Enemy” exits the listen calm, lush and full of sincere song craft.

Hibbard has been playing guitar since the age of 6, and at just 25 he’s building an impressive catalog of eloquent, twang friendly songwriting that, at this pace anyway, will likely put him in a league with those that he draws inspiration from by the time he’s 35.

Travels well with: Todd Snider- Cash Cabin Sessions Vol. 3; Pokey LaFarge- Rock Bottom Rhapsody

Chelsea Williams

Beautiful & Strange

Blue Elan, 2020

9/10

Listen to Beautiful & Strange

A longtime singer-songwriter from Los Angeles, Chelsea Williams started performing before she was a teenager, and by 21 was a full time busker. It wasn’t long until names like Ron Howard and Sheryl Crow noticed Williams, and this 2nd album on the Blue Élan label should hold anyone’s attention with her catchy formula where roots, jazz and psyche ideas are in attendance.

“Wasted” starts the listen with some ambience before settling into a warm, breezy Americana strummer where the vocals soar and the melody shines, and “Red Flag” follows with summery acoustic guitar as Williams sings with smooth grace on the infectious country-pop stunner.

In the middle, “Something Sweet” brings a darker quality to her timeless song craft with psychedelic nods, while “Muskegon” gets atmospheric and introspective amid a dreamy approach. “Cornerstone” then brings the listen into a lush setting as strings and shuffling percussion at greatly to the alluring appeal.

Near the end, “The Best Is Yet To Come” unfolds with much sophistication in a waltz like fashion, and “Fffun” exits the listen playfully with a bare and quirky delivery where something resembling a kazoo even makes an appearance.

Right now, Williams might best be known for her national commercial singing a Maroon 5 tune, but it won’t be long until her own charming brand of sweet yet gritty songwriting makes her a household name.

Travels well with: Mary Bragg- Violets As Camouflage; Janiva Magness- Change In The Weather

The Sweater Set

Fly On The Wall

Local Woman, 2020

8/10

Listen to Fly On The Wall

A Washington D.C. duo comprised of Maureen Andary and Sara Curtin, The Sweater Set’s Fly On The Wall was actually recorded live in Maryland in 2018, as the pair blend their indie-folk and Americana with sublime chemistry from their decade playing together.

“Dawn Chorus” starts the listen with light acoustic guitar as soothing, strong vocals guide the moving opener, and “American” follows with a soulful swagger as vivid storytelling aligns with the bright instrumentation.

Elsewhere, the romantic “Hostage” brings glowing vocal harmonies into the folk tune, while “Change” gets louder with soaring pipes and timeless melodies. “Sucker”, one of the most playful tunes, then recruits electric guitar from Curtin on the album highlight.

At the end, “Mother Warned” finds a moody place to reside with an introspective spirit, and “In Search Of A Crowd” exits the listen with an incredible display of melodic vocals as acoustic guitar accents the beauty.

This is the 5th album from The Sweater Set, and the last before Andary and Curtin became mothers. It will be exciting to see how motherhood changes their song craft, and even if it doesn’t, I don’t think anyone will mind as their light flourishes of flute and percussion complement the poetic grace and flawless delivery that’s impossible not to enjoy.

Travels well with: Jess Jocoy- Such A Long Way; Surrender Hill- A Whole Lot Of Freedom

Portnoy

No Complaints

Self-Released, 2019

8/10

Listen to No Complaints

A sibling act, Israel and Mendy Portnoy bring a wealth of textures to this constantly shifting album, where modern indie-rock is touched upon just as much as retro-rock fun.

“Celebrate” starts the album with rhythmic acoustic guitar before a fuller setting of vocal harmonies, vibrant keys and breezy melodies enter the equation, and “Spotified (Nashville)” follows with influence from The Beatles on the playful and memorable tune that certainly does recruit the country spirit of Nashville.

In the middle, “Teenage Mama” offers an elegant and emotive setting of warm atmosphere, while “Home To Zion” brings pianos on the upbeat and anthemic nod to their native country.

Near the end, “Tick Of Time” delivers a heartfelt ballad of twinkling keys and aching strings, and “Sing It Again”, one of the album’s best, uses backing female vocals strategically on the Americana tinted sing-along. The album exits on the lone cover, as the brothers do justice to the classic “Knockin On Heaven’s Door” with Alex Clare’s inimitable contributions on vocals.

A record with a keen sense of soulful and folk-rock sensibilities, Portnoy easily connect with people across the globe on this universally embraceable effort.

Travels well with: Olivia Frances- Orchid; Porangui- Live