Evvan

Home

Self-Released, 2021

8/10

Listen to Home

A New York based singer-songwriter who hovers somewhere near the area of alt-folk, Evvan makes quite an impression on this debut EP, where members of Milo Greene lend a hand across no shortage of melodies and harmonies.

“Wolf” starts the listen with warm drumming as much atmosphere unfolds alongside gentle guitar playing and Evvan’s expressive, inviting vocals, and “I’m Not Done Yet” follows with plenty of attention to mood, as an anthemic quality is built from folk ideas that end up soaring with a powerful execution about Evvan’s willingness to come out.

“Hurricane” lands in the middle and displays effective backing vocals amid gritty melodies and a tense climate, which isn’t surprising considering that it’s about relationship strife, while “Falling Over You” recruits elegant piano that packs in plenty of emotion as it escalates into a cathartic display of rawness and melody. “Home” exits the listen, and emits a dreamy presence that’s much calmer than the rest of the EP, which further illustrates Evvan’s diverse skill set.

It’s hard not to think of an updated version of Fleetwood Mac when listening to Home (and who could have a problem with that), as Evvan’s radiant vocal presence and meticulous attention to detail makes for a gripping listen that hints at even bigger things to come in the future for the exceptionally talented songstress.

Travels well with: CF Watkins- Babygirl; Nainnoh- Nainnoh

Vanessa Peters

Modern Age

Idol, 2021

10/10

Listen to Modern Age

A Texas and Italy based singer-songwriter who rarely stays in one genre too long, Vanessa Peters had to jump many hurdles to make Modern Age during a pandemic, but these powerful and punchy tunes thankfully came to fruition after being fleshed out in 4 different countries.

The title track starts the listen with loud and driving folk-rock, where Peters’ smooth singing guides the thoughtful, roots flavored, crunchy climate, and “Make Up My Mind” follows with breezy strumming that places some modern indie-rock nods into a dreamy setting that’s got some alt-rock bite, too.

Closer to the middle, “Hood Ornament” displays much melody as indie-pop moments enter her timeless appeal, while “The Band Played On” showcases a strong vocal range amid a soaring, charming brand of Americana. “The Weight Of This” then lands initially in ballad territory as a poetic, gorgeous delivery glides with a precise and powerful second half.

The strong songwriting continues to the end, where “The Try” sounds like an updated version of Fleetwood Mac on a steady diet of ‘90s rock, and “Still Got Time” exits the listen with organs making an impact on the dynamic and highly memorable finish to an incredible record.

Peters is in the company of her husband, Rip Rowan (drums, keys), Federico Ciancabilla (electric guitar), Matteo Patrone (keyboards) and Andrea Colicchia (bass), and together they create record of the year material. Whether you gravitate towards pop, rock, folk or Americana, you’re going to adore every minute here.

Travels well with: Hope Dunbar- Sweetheartland; Melody Duncan- Wolf Song

Kristian North

Passion Play

Mothland, 2021

8/10

Listen to Passion Play

Although you probably have never heard of the Canadian crooner and songwriter Kristian North, one listen of this new album and you certainly won’t forget his eclectic and charming approach, where retro, soft rock tendencies flirt with New Wave and disco, among many other sounds.

“Fantasy” starts the listen vocally strong amid some funk fun as playful pop ideas float around frisky percussion, and “Halfway To Heaven” continues the climate with soulful brass as a more gritty rock approach unfolds amid much warmth.

There’s just 8 tracks here, and each one is quite different. In the middle, “More Than Yesterday” is a dreamy, romantic excursion into ‘80s ideas, while “Shadow Of The Pyramids” displays soft buzzing alongside a neo-soul delivery that you can’t help but want to dance to. “Eye Of Love”, a particularly great song, then pairs acoustic guitar with deep singing as plenty of atmosphere enters an eloquent and addictive landscape.

The final two songs, “Genius Of Song” and “Tilted”, continue the diversity, where the former blends strategic keys and backing vocals with a sophisticated version of pop, and the latter exits radiating a swift, gospel influenced rocker that’s full of contagious energy.

A record that’s equally strong musically and lyrically, artists like Thomas Molander, Abigail Galwey and James Player, to name a few, lend a hand here, and they do a great illuminating North’s creative and alluring brand of pop song craft that can elevate any mood directly towards joyful.

Travels well with: Misty Coast- When I Fall From The Sky; Moonbeau- Moonbeau

String Noise

Alien Stories

Infrequent Seams, 2021

8/10

Listen to Alien Stories

A fascinating chamber duo consisting of Conrad Harris and Pauline Kim Harris, as String Noise the pair bring violins to 5 pieces here by African American composers/performers, where the ideas span classical, experimental, jazz even folk in their inimitable formula.

Jesse Cox’s “Alien Stories” leads the listen with plenty of ambience as carefully plucked, bowed and manipulated violin prowess unfolds with mystery that can get jarringly screechy as well as bare and pretty, and Lester St. Louis’ “ARCHIVE01 [Absolute Recoil]” continues the unpredictable setting with quivering strings that are often firm and cinematic.

Occupying the middle, “La Púyala Muntá”, by Anais Marviel, flows with warm melody in an initially more straightforward classical delivery that segues into experimental techniques amid plenty of rhythm, while Charles Overton’s “Only Time Will Tell” emits an emotive quality that dances with captivating string acrobatics that are full of energy and awe. “Yet To Be” then exits the listen with sublime interplay between the violins that’s both swift and gentle and even embraces bebop tendencies.

Sometimes minimal and other times quite hectic, String Noise place a very artistic and iconoclastic emphasis on their craft, and it’s one that few others could or would be able to replicate. Amazingly, this is just one of three albums they released March 26, and I’d be willing to bet that the other two are just as mesmerizing.

Travels well with: Ty Citerman- Bop Kabbalah + Voices: When You Speak Of Times To Come; Colin Cannon- McGolrick

MIY

Work

Self-Released, 2021

9/10

Listen to Work

A Luxembourg outfit with an affinity for the nostalgic sounds of industrial, goth rock and darkwave, although MIY began as a solo vehicle for Gábor Bándi, these days Mattia D’Agostino plays drums on this sophomore album.

“Searchlight” starts the listen with nods to post-punk and synth-rock as an ominous quality surrounds the deep singing and dark buzzing, and “Work” follows with a charged presence of industrial like thundering that writhes with a fuzzy energy.

The middle tracks are among the best, and include the melodic pop ideas of “Faith”, while “Beat” builds sonically loud walls of symphonic rock. “The Night”, one of the album’s best tracks, then recruits Remeya Kingston’s smooth pipes as metallic sounds are met with tuneful, soaring singing.

Near to the end, “Another World” offers an atypical, atmospheric slant on today’s indie-tronica, and “Lose” exits the listen with soulful brass that aligns with gritty New Wave nods, effectively embracing the best moments of the outsider ‘80s sounds.

Certainly firm and riff heavy enough for fans of metal, and iconoclastic in a way that brings to mind The Birthday Massacre, there’s also plenty of timeless synth stabs to be found here, and it all comes together in a very creative and relatable listen that thematically addresses defiance and strength of the human soul in some very morbid times. Even if you never cared for Ministry, you’re going to love this.

Travels well with: Selfless Orchestra- Great Barrier; Cosse- Nothing Belongs To Anything

Uzul

Evolve

Jarring Effects, 2021

8/10

Listen to Evolve

On this debut solo album, Uzul, a long time supporter of the bass music scene, meshes techo, dubstep, house, hip-hop and plenty of other ideas into 11 unclassifiable tracks.

“Octopus” starts the listen with a brief display of an ominous atmosphere that sounds underwater, before “Aquatic” enters with a firm beat and light buzzing as a club friendly approach unfolds with plenty of exploratory, glitchy fun.

Landing near the middle, “Hello” pulsates with dizzying percussion in an energetic landscape, while “Sea Horse” forges ahead with a lively, nearly hypnotic delivery of synth acrobatics. “Subtle”, a late album highlight, then recruits a soulful demeanor amid a calm, soothing display of trip-hop dynamics.

Close to the end, the sci-fi sounding “Music Is A Game” embraces firm techno and reggae ideas, and “Oceans” finishes the listen out steeped in dub and trip-hop in a way that only a true veteran of the genres could craft.

Uzui has been apart of Kaly Live Dub, Hybrid Sound System and 4GetMeNot, among others, and this first solo outing continues his consistently innovative and engaging songwriting that’s both playful and meticulous.

Travels well with: Benjamin Schoos- Doubt In My Heart; Julien Boudart- Nome Polycephale/Ancient And Modern Myths Vol. 1

Paar Linien

Paar Linien

Discobole, 2021

8/10

Listen to Paar Linien

The brainchild of Nicolas Stephan, as Paar Linien (‘a few lines’ translated from German) he births an unconventional aesthetic where Baslle Naudet (alto sax, electric guitar), Louis Freres (electric bass) and Augustin Bette (drums) accompany Stephan’s tenor sax, stritch and sparing vocals.

“Lines #1” starts the listen with bright saxophone that moves unpredictably as a thick undercurrent of buzzing sets the mood, and this creative approach continues to the highly adventurous “Lines #2”, which places more emphasis on brass amid an even more exploratory vision that touches on free jazz and avant-garde rock.

Advancing towards the middle, “Lines 3” pairs squealing, busy textures with calmer moments of restrained beauty and warm ambience, while “Grand Maguerite” benefits from fluid drumming alongside soulful sax and spirited guitar lines. “Acts Of Violence”, an album stand out, then moves both cautiously and swiftly as alt-rock and some form of jazz collide in a fascinating execution.

The final two tracks, not surprisingly, furthers the atypical landscape, and includes the brief, calm “Lines #5”, and “Les éborgnés” exits the listen steeped in vintage jazz nods but not without subtle rock sensibilities.

A very charming and unique adventure that brings to mind both June of 44 and Ornette Coleman, Paar Linien recruits both improvisation and precise calculation on this outstanding effort.

Travels well with: Trojan Panda- Peau; Gilles Poizat- Champignon Flamme

Fred Hostetler

Fred’s Blue Chair Blues

Mukthiland, 2020

8/10

Listen to Fred’s Blue Chair Blues

A veteran singer-songwriter, musician and producer, Fred Hostetler strips the scene bare here, and offers us 8 originals and 1 cover recorded in his living room, unplugged, unfiltered and unedited.

“Bright Lights Big City” starts the listen with Hostetler’s warm, melodic acoustic guitar as his expressive, soulful pipes guide the bluesy climate, and “Hey Corporate Vandals” follows with swift strumming as vivid storytelling unfolds with a timeless spirit.

Residing near the middle, “Rain On My Window Pane” flows with a poetic quality, where intricate playing and eloquent singing meet at a very memorable place, while “Taming The Wolf” adds spoken word and playful chord progressions amid the soft delivery. “I’m A New Man”, one of the album’s best, then glides quickly with glorious guitar work and Hostetler’s wise pipes sounding like an old friend you haven’t seen in too long.

Close to the end, “There I Go Again” is a universally enjoyable folk song that’s played precisely and delivered sublimely, and “Salt Tears” exits the listen with a sweet and upbeat finish that you can’t help but smile to.

Hostetler has played the supporting role on albums in every decade from the ‘60s on, and in 2017 he released his first solo effort, Heart Radio. This live album truly illustrates the breadth of his talent in an intimate setting, and will certainly strike a chord with any fan of acoustic music.

Travels well with: Pete Thelen- Best For Last; Jeff Fetterman- Southern Son

Nate Wooley

Mutual Aid Music

Pleasure Of The Text, 2021

8/10

Listen to Mutual Aid Music

The trumpeter and composer Nate Wooley offers a very ambitious effort here, where 8 compositions unfold across 2 discs that welcome Ingrid Laubrock’s saxophone, Joshua Modney’s violin, Mariel Roberts’ cello, piano by Sylvie Courvoisier and Cory Smythe, and percussion thanks to Matt Moran and Russell Greenberg.

“Mutual Aid Music I” starts the listen with soulful trumpet as light percussion sets the mood for an intimate and exploratory 10 minutes that blurs the lines of jazz, improv and noise, and “Mutual Aid Music II” follows with strategic sax entering the dizzying display of vibraphone and piano acrobatics.

Halfway through, “Mutual Aid Music IV” offers a flurry of percussive and ambient ideas that reside somewhere between free jazz and calculated chaos, while “Mutual Aid Music I-I” presents squealing violin amid a cinematic quality and buzzes lightly and mysteriously.

The creativity remains strong until the end, where “Mutual Aid Music III-I” leads with graceful keys before segueing into a dreamy landscape of minimal charm, and “Mutual Aid Music IV-I” exits the listen with a busy execution of keys, brass, percussion and strings working together synergistically with the end goal of divine chemistry.

Thematically, the record surrounds the idea of mutual aid as community drive and willingness to give and receive accordingly. Similarly, the musicians present are asked how their contributions will effect the ensemble, and the resulting balance, support and selfless approach makes for a very unique adventure that you’ll want to revisit again.

Travels well with: Scott Wollschleger & Karl Larson- Dark Days; Curtis K. Hughes- Tulpa

Thy Dirty Deuce

Bruised

Self-Released, 2020

8/10

Listen to Bruised

The Wisconsin quintet Thy Dirty Deuce are back with another record of their dynamic and original brand of rock that embraces blues and retro ideas, where both fans of vintage and modern sounds will find much to appreciate.

The 10 track album leads with the groove friendly rock of “Call It What You Will”, where strong electric guitar from frontman Reverend Rob Atwood and punchy drumming from Jamey Clark highlight the energetic setting, and “Agree To Disagree” follows with some bluesy spirit embedded in the chunky and gritty delivery.

In the middle, “Lean Back Cadillac” finds a soulful place to reside as swirling melodies enter some jagged moments, while “Shake Well” benefits from Pat MacDonald’s contributions on the rhythmic and crunchy climate that bounces playfully amid Greg Rotiek’s bass prowess. “One Crazy Summer”, one of the album’s best, then moves along hazily, as thicker textures are met with calm moments of rawness that bring to mind the best moments of the ‘90s.

The final two tracks don’t disappoint either, and include gentle guitar and David Passow’s spirited harmonica on “You Might”, and “Kick-Ass Love Song” exits the listen with Thy Dirty Duece’s version of a love song where saxophone by Matt Ostlund complements the powerfully layered, pretty finish.

Already a recognizable name in the midwest, Thy Dirty Deuce won’t have much trouble making fans wherever they go as they balance noise and tunefulness in an inimitable formula that will sound as great decades from now as it does today.

Travels well with: Misty Coast- When I Fall From The Sky; Kevin Burt- Stone Crazy

Alyssa Jacey

Alyssa Jacey LIVE!

Self-Released, 2021

8/10

Listen to Alyssa Jacey LIVE!

A California native who now calls Nashville home, though Alyssa Jacey may have gotten a late start in music compared to her peers, she’s made up for it with several albums to her credit and an amazing 3,500 shows. Once Covid hit and her live shows stopped, she took a chance on a socially distanced performance at the new Argyros Performing Arts Center on September 16, 2020, where 80 people were able to absorb her immense talent live that we all get to enjoy the recording of.

Jacey leads with the intimate and warm “Heart Breathe”, where her smooth vocals guide the poetic wordplay as she hits some pretty high notes, and “You Think You Know Somebody” follows with a firm strummer where a timeless folk climate enters the expressive delivery.

Deeper into the set, “Drowning Me” finds itself in emotive territory where the breadth of Jacey’s vocal prowess is on full display, while “I Want It To Rain” is a pretty, eloquent song that illustrates her intricate guitar playing. “Our Love”, another playful, romantic tune, then actually places some rapping into the frisky atmosphere.

Near the end, “Love Is All You Need” is an ultra positive, glorious song that even uses drumming to create the mood, and “Stand By Me” exits the listen with a soulful cover of the Ben E. King classic, where Jacey’s interpretation allows the crowd to do some of the singing, too.

Though I generally don’t feel that live albums are a great first introduction to an artist, this one is so well done, I’ll certainly be exploring more of Jacey’s catalog. For the longtime fans, well, your mind is probably already made up, and you’ll absolutely enjoy the singing, guitar playing, stomp box and tambourine from the renaissance woman on this 32 track set (11 originals, 3 covers, and plenty of in between song commentary).

Travels well with: Zoe Fitzgerald Carter- Waterlines; Claire Kelly- The Scenic Route

Neil Rolnick

Oceans Eat Cities

Albany, 2021

8/10

Listen to Oceans Eat Cities

A pioneer who introduced computers to music way back in the late ‘70s, Neil Rolnick’s esteemed use of digital sampling, interactive media, acoustic vocal, chamber and orchestral sounds has been present on over 20 recordings, and here he welcomes several players to flesh out 3 very elaborate compositions.

“No Change In Carbon Emissions, RCP 8.5” starts the listen with quivering strings and no lack of atmosphere as the mood shifts from haunting to mysterious alongside plenty of glowing work from Wendy Law’s cello, Erik Peterson’s viola, and violins by Emily Ondracek and Galina Zhdanova.

“Mirages” lands in the middle, and hosts Rolnick’s profound talent on piano and computer, as low rumbling and exploratory key work covers themes related to the chapters “Water”, “Desert” and “Highway”. The album ends with “Deal With The Devil”, where Jennifer Choi lends her violin talent, and Katherine Supové’s piano and Rolnick’s computer skills make for a very playful, meticulous and unconventional form of chamber and orchestral hybrid.

Tragedy struck Rolnick in 2018 with the passing of his wife, Wendy. He vowed to continue with his music, while keeping her spirit alive with his art. It’s safe to say that his inimitable vision is still as exciting today as it was decades ago, and he’s certainly keeping his word to his late wife with some of his most creative work yet.

Travels well with: Anais Reno- Lovesome Thing; John Daversa- All Without Words

Ashley Monroe

Rosegold

Thirty Tigers, 2021

8/10

Listen to Rosegold

The Nashville star Ashley Monroe took a different approach to this 5th solo album, where she sets aside any of the sadness of her previous work for a joyous body of sounds that shares the light and love in her life since the birth of her son.

“Siren” opens the listen with a shimmering pop spirit as Monroe’s country roots are still present in the stylish setting, and “Silk” follows with a dreamy quality, where warm keys and strategic percussion add much to the expressive and atmospheric landscape.

Closer to the middle, “Drive” is both cautious and playful as Monroe’s intimate singing aligns well with the smooth climate, while “Flying” lands in ballad territory where gorgeous piano accompanies Monroe’s poetic delivery. “Groove”, a late album highlight, then benefits from pulsating strings in a very playful, orchestral influenced mood that’s highly romantic.

Further still, “I Mean It” offers a lush and soaring display of textured dynamics, and “The New Me” exits the listen heartfelt amid some mysterious ambience as hazy keys and ‘60s pop nods enter a very atypical finish.

Together with the help of Nathan Chapman and Jake Mitchell, among others, on the production side and Ben West, Chris Powell and Niko Moon, to name a few, on instrumentation, Monroe drifts further from her country template on this daring and sonically challenging adventure that takes the listener on an unpredictable journey.

Travels well with: Gretchen Peters- Dancing With The Beast; Patty Griffin- American Kid

Anaïs Reno

Lovesome Thing: Anaïs Reno Sings Ellington & Strayhorn

Harbinger, 2021

9/10

Listen Lovesome Thing: Anais Reno Sings Ellington & Strayhorn

At a mere 16 years old on this debut, Anaïs Reno makes this first album a tribute record, where classics by Duke Ellington and Billy Strayhorn unfold with help from Emmet Cohen, Russell Hall, Kyle Poole, Tivon Pennicott and Juliet Kurtzman, and, of course, Reno’s mature interpretation.

“Caravan” starts the listen with Poole’s proficient percussion alongside Reno’s rich, expressive pipes in the timeless jazz climate, and “Mood Indigo” follows with Kurtzman’s violin prowess on display as Reno’s radiant pipes sound wiser than her years.

Elsewhere, Reno showcases swing tendencies on the playful “Still In Love”, while “It’s Kind Of Lonesome Out Tonight” emits Cohen’s gorgeous piano amid the heartfelt and eloquent atmosphere. “Day Dream”, one of the album’s best, then offers an alluring intimacy that’s not short on beauty or memorableness.

Near the end, “Lush Life” is just keys and vocals in a stripped back environment that really allows Reno’s vocals to shine, and “Take The ‘A’ Train” exits the listen with an undeniable energy and charming playfulness that we won’t soon forget.

A vocalist with a healthy career ahead of her, doing justice to these songs is no easy feat for anyone- especially a teenager- but Reno pulls it off like a seasoned vet. Expect to hear a lot more about Anaïs Reno, as there appears to be boundless talent present in this youngster and she’s just scratching the surface.

Travels well with: Lauren White And The Quinn Johnson Trio- Ever Since The World Ended; Roseanna Vitro- Listen Here

John Daversa

All Without Words: Variations Inspired By Loren

Tiger Turn, 2021

8/10

Listen to All Without Words

The multiple Grammy winner and trumpet extraordinaire John Daversa returns with his longtime friend and collaborator Justin Morell, as they craft a superbly textured orchestral jazz trumpet adventure that’s inspired by Morell’s autistic and non verbal son, Loren.

“Loren’s Theme” starts the listen with flowing strings as Daversa’s well timed trumpet adds much to the graceful, stirring mood, and “Searching But Never Finding” follows with strong, frisky percussion and bright brass as the adventurous landscape unfolds in an unpredictable nature.

Close the middle, “The Urgency Of Every Moment”, one of the album’s best, then displays profound talent in its timeless jazz climate, while “Walking In Our Own Footsteps/The Circle Game” trims the pace back with much prettiness imbedded in the cautious delivery that benefits much from Conrad Fok’s piano. “The Smallest Thing”, another track packed with subdued beauty, emits glowing strings that complement the gorgeous landscape.

Approaching the end, “Learning Simply To Be” lands in cinematic territory, as restraint and incredible interplay characterize the environment, and “It’s Enough To Be Here, Now” exits the listen steeped in orchestral ideas, where soaring dynamics and dreaminess are represented in spades.

The musicians present are culled from South Florida and showcase some of the areas brightest jazz and classical minds. Due to Covid, they all had to record their parts separately, but the unparalleled talent sounds like they’re all playing together, weaving in and out of the gamut of human emotion from joy to pain and everywhere in between on the soulful and intense effort.

Travels well with: Jeremy Monteiro Jay Anderson Lewis Nash- Live At No Black Tie Kuala Lumpur; Matt Panayides- Field Theory

The Shootouts

Bullseye

Soundly, 2021

9/10

Listen to Bullseye

The Shootouts impressed me with 2019’s Quick Draw, and here they bring their honky tonk, western swing and classic country hybrid back for a sophomore album where even natural disasters and Covid couldn’t deter Ryan Humbert (vocals), Emily Bates (backing vocals), Brian Poston (lead guitar), Dylan Gomez (drums) and Ryan McDermott (bass) from their craft.

“I Don’t Think About You Anymore” starts the listen with warm and swift twang as much energy enters the shuffling and playful climate, and “Rattlesnake Whiskey” follows with a galloping spirit as strategic pedal steel from Al Moss and quick drumming add much to the dusty delivery.

Approaching the middle, the title track is packed with a retro rock’n’roll demeanor as intricate guitar lines complement the dance friendly instrumental, while “Here Come The Blues” certainly recruits the blues but not without their timeless country influences, too. “Waiting On You”, an especially strong track, then emits much melody amid a punchy and vocally smooth atmosphere that’s got plenty of sing-alongs present.

Closer to the exit, the emotive and cautious “I Still Care” displays strong fiddle prowess thanks to Renae Truex, and “Saturday Night” unfolds with a flurry of honky tonk fun, fluent vocal harmonies and meticulous guitar work in the textured finish.

A band who effectively blend the retro ideas of Nashville with the energy of Texas swing and the grit of Bakersfield, The Shootouts are equal parts traditional country and modern day friskiness on this intoxicating second record.

Travels well with: Brent Amaker Deathsquad- Hello; Robbie Fulks & Linda Gail Lewis- Wild! Wild! Wild!

Susan Kander

dwb (driving while black)

Albany, 2021

8/10

Listen to dwb (driving while black)

A project that’s as important as ever in these troubling times, Susan Kander and Roberta Gumbel join forces to address systemic racism on the appropriately titled dwb (driving while black), which is essentially a chamber opera that makes good use of Hannah Collins’ cello and Michael Compitello’s percussion.

“Prelude: ‘Oh Honey’” starts the listen percussively strong and with swift strings as Gumbel’s soaring soprano contains the mood with much beauty, and “Bulletin #1: ‘Young Lawyer’” follows with a musically bare but vocally strong minute of artistic, thoughtful wordplay.

Further down the line, “Scene Two: ‘You, My Beautiful Brown Boy’” flows with expressive storytelling in a dreamy climate, while “Bulletin #4: Scene: Curbside For Carry-Out” displays frisky drumming amid some topical dialogue. “Scene Seven: “No! Strike Me With Your Anger”, the longest track at 6 minutes, then really illustrates the depth of Gumbel’s vocal strength as Compitello’s percussion maintains its unpredictable nature.

Closer to the finish, “Scene Twelve: ‘Get Me Out Of The Car’” offers cautious yet playful instrumentation, and “Scene Thirteen: ‘Nothing New’” solidifies the affair as a daring and very important chamber listen that should be required listening in 2021.

With a storyline that parallels Gumbel’s life raising a son who is about to get behind the wheel in his teenage years, what should be a celebratory event is now one riddled with anxiety, even fear. To help cultivate the mood, both Collins and Compitello play several instruments in the exploratory setting as Gumbel’s operatic quality keeps us enthralled from beginning to end.

Travels well with: Alan Hovhaness- Selected Piano Compositions; Victoria Bond- Soul Of A Nation: Portraits Of Presidential Character

Keith Kenny

Lifetime Ago Motel

iNtu, 2021

8/10

Listen to Lifetime Ago Motel

The New Jersey resident Keith Kenny has been through the wringer lately, as this 5th album was penned over 3 years that saw Kenny married and divorced, all while trying to make ends meet as a touring musician. On the positive side, he’s got esteemed drummer Sim Cain playing drums on Lifetime Ago Motel, where the autobiographical songs poured out as everything around him was seemingly falling apart.

“Move Along” starts the listen with Kenny’s inviting vocals in the rhythmic and warm rock’n’roll climate that’s all about finding a silver lining, and “Ends Meet” follows with spirited harmonica making a big impression in the breezy, Americana influenced display.

in the middle, “IDGAF” gets quirky, experimental and kinda spacey in a New Wave sort of way, while “The Letter” lands in acoustic singer-songwriter territory as Kenny channels his inner folk troubadour. “Waiting For The Kill”, the album highlight, then delivers a percussively strong, melodically radiant, and, eventually, more firm display of thicker rock tendencies.

Approaching the end, the light synth buzzing of “Moonchild” pairs with charming acoustic strumming, and “Drifting In Time” exits the listen with a heartfelt instrumental where Kenny’s guitar prowess is as soothing as it is memorable.

Essentially the soundtrack of a creative mind struggling and coming out a different, more robust person, Kenny is a highly talented singer-songwriter, and his genre skipping approach and strong wordplay make Lifetime Ago Motel a valiant effort that commands your attention.

Travels well with: They Might Be Giants- My Murdered Remains; R. Stevie Moore- Afterlife

The Offering Of Curtis Andrews

Speaking Hands

Self-Released, 2021

8/10

Listen to Speaking Hands

A Vancouver resident with a profound talent in the area of drumming and percussion, Curtis Andrews brings in a small army of musicians on this very diverse album, where exploration and richness fill the unpredictable textures.

“Tom TaTom TakaTom TaKi Ta Tom” starts the album with Jared Burrows’ electric guitar and Mark Duggan’s vibraphone adding to the cultured and percussively strong opener, and “Tight Rope, Short Walk” follows with Bansuri from Neelamjit Dhillon and Kaushik Sivaramakrishnan’s violin contributing much beauty amid the adventurous landscape.

Residing near the middle, “The Rainmaker emits much rhythm as Sri Trichy Sankaran brings a mridangam to the precisely layered affair, while “A Frayed Knot” places Meredith Bates’ skills on violin, and Kristian Naso’s trumpet isn’t anything to spit at either. The title track, one of the most noteworthy on the album, then displays dizzying strings alongside Andrews’ acrobatic drumming.

“The Shapeshifter” lands close to the end, and showcases exceptional brass alongside spirited electric guitar, and “Chapu Tala Malika” exits the listen with guitar, violin, electric bass, drums and even a hint of vocals in the very atypical finish.

This sophomore listen arrives more than a decade after his debut, but Andrews certainly makes it worth the wait as the all star ensemble even welcomes Dr. Trichy Sankaran, who plays on 4 tracks- 1 of which Sankaran composed for the group- and this only adds even more intrigue for the world jazz adventure.

Travels well with: Dan Pitt Quintet- Wrongs; TuneTown- Entering Utopia

Cat Stevens

Back To Earth

BMG, 2019

8/10

Listen to Back To Earth

The 11th studio album from Cat Stevens, Back To Earth, sees the remaster treatment on this Anniversary Edition (it was originally released in 1978), effectively making this soft rock classic an even better listening experience.

“Just Another Night” starts the listen with acoustic guitar and keys as Stevens’ inimitable vocals guide the cautious soft rocker, and “Daytime” follows with a calm spirit of keys in the eloquent setting.

Elsewhere, “Randy” builds into a powerful display of elegant strings and warm piano, while “The Artist” simmers with a graceful quality that can get both quaint and busy. “Nascimento”, one of the album highlights, then finds a groovy place to reside amid disco ideas and fluid saxophone work.

Near the end, “New York Times” offers a louder, almost anthemic delivery with its giant chorus, and “Never” exits the listen gentle, agile and playful with all the hallmarks of a quintessential Stevens tune.

Recorded during a time when Stevens had changed his name and was considering retiring from music, even though Back To Earth was somewhat of an obligated record as he owed the label one more album, this ‘return to form’ effort ended up being one of the best in vast catalog, that still holds up well today.

Travels well with: Don Mclean- Botanical Gardens; Chicago- VI Decades