The Contraptionists

Working Man’s Dread

Self-Released, 2021

9/10

Listen to Working Man’s Dread

Paul Givant and Stephen Andrews, The Contraptionists, play a very distinct and innovative brand of folk music, where they create thick walls of sound with just two people, as rural components collide with more firm areas of rock that tip their hat to the ‘90s.

“River Lethe” starts the listen with smooth, warm singing alongside a very unique brand of folk-rock that sounds like it could soundtrack a day in the mountains or on a spacecraft with its industrial spirit, and “Working Man’s Dread” follows with a busy display of guitar acrobatics, frisky drumming and, somehow, an alt-rock presence.

Near the middle, flowing harmonica adds much to the soulful and bluesy murder ballad “Murky Floor”, while “Empire Of Smoke” moves swiftly amid a curious brand of Americana that’s got plenty of rhythm and melody. “Ember Days”, one of the album’s best, then lands closer to rock territory as a punchy delivery comes with playful backing vocals.

The quality of the song craft continues to the end, including “Sight Of Blood”, which glides with a stylish, lush climate that unfolds with strategic banjo, and “Dream Song” exits the listen with nods to the past as breezy folk ideas surround the summery melodies and an indeed dreamy atmosphere.

Although this is their debt, Givant and Andrews have a long history in music that includes playing in the Americana outfit Rose’s Pawn Shop. This platform, however, extends from their roots into a variation of a one man band that pushes the boundaries of creativity in ways you’ll be in awe of.

Travels well with: Desert Hollow- Thirsty; Soo Line Loons- Soo Line Loons

Yoo Doo Right

Don’t Think You Can Escape Your Purpose

Mothland, 2021

9/10

Listen to Don’t Think You Can Escape Your Purpose

A Montreal outfit with an affinity for Krautrock who don’t follow any preconceived ideas of how a song is supposed to sound, Yoo Doo Right mash experimental, abrasive and even groove filled ideas into this sonically ebullient listening experience.

“A Certain Sense Of Disenchantment” leads the listen with much atmosphere as mysterious drumming segues into the thick, furious and charged walls of noise that is “1N914”.

In the middle, “The Moral Compass Of A Self-Driving Car” doesn’t take long to build into a layered and dense execution of post-rock meets thumping alt-rock, while “Don’t Think You Can Escape Your Purpose” soars with a dreamy, buzzing display of shoegaze meets doom like haze.

Of the late tracks, “Presto Presto, Bella’s Dream” moves swiftly amid angular guitar work and a nearly prog-like presence, and “Black Moth” exits the listen and alternates between calm ebbs of beauty and deep bouts of rumbling that are as impressive as they are creative.

Even though they’re just the trio of Justin Cober (guitar, synth, vocals), Charles Masson (bass) and John Talbot (drums, percussion), Yoo Doo Right make some sturdy racket on one of the most impressive debut albums in recent history.

Travels well with: Coddiwomple- The WALK And Other Stories; Subduxtion- The Black Point

Blood Lemon

Blood Lemon

Self-Released, 2021

10/10

Listen to Blood Lemon

A trio from Boise, Idaho, Blood Lemon i.e. Lisa Simpson (vocals. guitar), Melanie Radford (bass, vocals) and Lindsey Lloyd (drums), know their way around songs that tip their hat to ‘90s legends like Pixies, Hole or The Breeders on this exceptional debut.

“Bruise” leads the listen with some dense buzzing that, thankfully, makes it very apparent that alt-rock is on the horizon as both grit and melody enter the punk influenced and indie-rock climate, and this formula continues to the crunchy and noisy “Whistleblower”, where Simpson’s versatile singing makes an impact,

Closer to the middle, the punchy, swift “Burned” glides with a pop and garage rock spirit, while “The Stone Castle” is a more subdued display of power and melody as angular guitar work and proficient percussion work together dynamically. Further yet, “Black-Capped Cry” alternates between bare beauty and thick moments of throbbing rock that’s impossible not to adore.

Approaching the end, “One More Time” takes nods to the ‘90s with its strategic tension and moments of calm, even soothing rock, and “Leave The Gaslight On” exits the listen with post-punk traces amid a dreaminess that highlights the strong guitars, proficient drumming and meticulous nature of the trio.

A superb record that’s full of sturdy riffs, a lively rhythm section and with the spirit of the Riot Grrrl movement intact, Blood Lemon are both ferocious and pretty, hard hitting and tuneful, and they embrace the most important pieces of the ‘90s on one of the best records of 2021.

Travels well with: Teen Creeps- Forever; Matthew Sweet- Catspaw

Sunset Lines

Home Anywhere

Self-Released, 2021

9/10

Listen to Home Anywhere

A Bay Area outfit spearheaded by Liz Brooks (vocals, synth) and Paul McCorkle (synth, production), Sunset Lines also brings new members Scott Smit (bass) and Ben Manning (drums) into the fold on this ‘80s pop spirited EP that blurs the lines between psych-pop and New Wave in very cozy ways.

“Unresponsive” starts the listen with a flowing version of indie-pop, where bright synth work and equally luminous singing guides the ‘80s nods and dreamy setting, and “Phototaxis” follows with a calmer pace of summery melodies that builds into a busy display of creative pop prowess.

The middle tracks offer us the charming and playful buzzing of “Smoke Signals”, while “Read The Whole Room” moves cautiously, amid a mysterious quality that fades into a sparse pulse of gentle beauty.

Towards the end, “Season Of The Witch” recruits piano and some of the most expressive singing into the breezy climate, and “Easy To Offend” exits the listen with a soaring delivery of hazy, memorable song craft that resonates with both retro and modern ideas.

After a couple year hiatus following the release of their debut EP, Sunset Lines returns with this more synth dominant formula that sounds right at home alongside legends like Tears For Fears, but also blends in well with today’s indie-rock scene. Toss in some precisely skilled production and strong attention to songwriting detail, and you’ve got some of the best synth driven pop you’ll hear all year.

Travels well with: The Pink Dust- Dark Seas; Hiatus- Dancer

West Side Joe & The Men Of Soul

Keep On Climbin’

Self-Released, 2021

8/10

Listen to Keep On Climbin’

A Memphis raised trio who now live in Ft. Collins, Joe Schicke (guitar), Steve Amedee (drums) and Taylor Tesler (bass, acoustic guitar, percussion), i.e. West Side Joe & The Men Of Soul, sees all 3 members singing, too, on this debut album of timeless, vintage rock.

“Easier Than You Think” starts the listen with frisky drumming, buzzing bass and spirited keys as soulful vocals steer the bluesy landscape, and “Keep On Climbin’” follows with a punchy, rhythmic delivery of dance friendly sounds that benefits from Schicke’s strong guitar work.

There’s a dozen tracks here, and they’re all executed precisely, including the soft and easy going “Found You”, where strategic horns add much to the graceful climate, while “Man Down” gets funky, playful and beams with retro rock fun. “Give Love For Free”, a truly exceptional tune, then meshes brass, keys, guitars and drumming into a breezy, melodic adventure of radiant warmth.

Landing near the end, “When You Get The Chance” has Schicke belting out some powerful singing amid a firm New Orleans flavor, and “I Can’t Lose” exits the listen with some R&B hints embedded in the meticulous finish.

A very fluent listen that embraces soul, gospel, blues and all sorts of variations of rock, there’s certainly a lot of southern swagger left in these now Colorado residents, and it’s showcased here with a lot of heart and much skill.

Travels well with: Steve Cropper- Fire It Up; Rick Holmstrom- See That Light

Tim Foljahn

I Dreamed A Dream

Cart/Horse, 2021

9/10

Listen to I Dreamed A Dream

A very well regarded studio and touring guitarist, Tim Foljahn might best be known as the core of Two Dollar Guitar, who have several great albums in their catalog, and he takes his vast experience collaborating and applies it to this very diverse and thoughtful solo album- his first in five years.

“Once” starts the listen with bare string plucking as Foljahn’s soulful, expressive singing guides the orchestral turned rock climate that also welcomes soothing female backing vocals, and “Lowdown Day” continues the creativity with Foljahn’s version of Americana with brushed percussion, meditative guitar lines and poetic storytelling.

The middle tracks offer the more rugged and even bluesy “Ghost Ripper”, where Foljahn’s guitar acrobatics impress amid the strong grooves, while “Remember Me” offers a quicker pace of punchy, rootsy ideas that aren’t short on melodies alongside soaring strings.

Deeper still, the bare beauty of “Wake Up” resides closer to blues territory as raw, eloquent song craft is illuminated by electric guitar, and “I Can’t Decide” swerves into modern day indie-rock appeal where synthetic drumming and pop influences unfold. “In My Dreams” exits the listen, and brings psychedelic textures to a playful, swirling environment that hosts a pair of guitars and electronics that are manipulated superbly.

A fascinating and stirring effort, Foljahn is in the company of Jeremy Wilms (bass, arranging), Megan Gould (violin, viola), Danton Boller (double bass), and Christina Rosenvinge (vocals), as he navigates in and out of intimate, grungy and sophisticated songs with a fluid, timeless and highly memorable skill set.

Travels well with: Benjamin Jayne- Theater; Spencer Cullum- Coin Collector

Francesco Amenta

Midtown Walk

Self-Released, 2021

8/10

Listen to Midtown Walk

The multi-instrumentalist and composer Francesco Amenta returns with his 2nd album as bandleader, as he and Cyrus Chestnut (piano), Kimon Karoutzos (bass) and Gary Kerkezou (drums), deliver tunes that relate to his life in the United States since 2017, when Amenta moved to New York City from Italy.

The pop friendly “Dancing” starts the listen with a lively, rich display of frisky drumming, soulful sax and elegant keys as beauty and playfulness meet at a very exciting intersection, and “Home” continues with an initially calmer pace of strong sax prowess alongside deft piano that builds into an animated, blues fueled climate.

At the halfway point, “Number 9” emits divine interplay between the quartet that’s both busy and restrained, while “6/22” burns slow with much beauty in the ballad oriented setting. “Travelers”, one of the record’s best, then glides at a brisk pace of sublime sax acrobatics amid swift drumming and key acrobatics.

“Burgundy 45” and Duke Ellington’s “Come Sunday” finish the listen, where the former swings with a bouncy intensity that’s quite modern in its charm, and the latter spends 12 minutes mesmerizing us with a dreamy, heartfelt display that certainly does justice to the classic.

A record with a glowing personality and that embraces funk, blues, swing and, of course, jazz. Amenta is in fine company here as he executes flawlessly with his tenor sax on the well thought out originals and fantastic cover.

Travels well with: John Daversa- All Without Words; Matt Panayides- Field Theory

Bill & The Belles

Happy Again

Ditty Boom, 2021

8/10

Listen to (Happy Again)

If you feel like you’re constantly hearing different versions of the same band in today’s indie-rock, well, Bill & The Belles might be just what your musical palette needs, as they birth a formula that embraces old time country, girl groups of the ‘60s, and the very early days of rock’n’roll on this divorce record penned by founding member Kris Truelsen.

“Happy Again (I’ll Never Be)” starts the listen with a deeply nostalgic folk-pop appeal as harmonic vocals unfold alongside fiddle in a raw setting, and this charming approach follows to the slower, vintage Americana of “Make It Look Easy”, where a call and response vocal strategy and warm instrumentation flows.

Elsewhere, “The Corn Shuckin’ Song” shuffles with a dance-friendly spirit that seems like it would soundtrack a night in a speakeasy, while “Bye Bye Bill” offers a playful and country tinted display that benefits from low bass work. “Blue So Blue”, one of the album’s best, then showcases precise nods to roots and vaudeville sounds amid some blues flavor.

Close to the end, “Get Up And Give It One More Try” moves softly, even sublimely, before halfway through shifting to a bouncy, rural rocker, and “Good Friends Are Hard To Find” exits the listen with group vocals alongside banjo and a retro quality that seems like it would emanate from the AM dial.

Further proof that what’s old is new again, in addition to Truelsen, Bill & The Belles spotlights the timeless talent of Kalia Yeagle (guitar, fiddle, vocals), Andrew Small (bass), Helena Hunt (banjo, vocals), Nick Faulk (drums) and Don Eanes (piano/Hammond), and it’s truly a unique and heartwarming adventure of rootsy innovation.

Travels well with: The Shootouts- Bullseye; Melissa Carper- Daddy’s Country Gold

Winnipeg Jazz Orchestra

Twisting Ways

Self-Released, 2021

9/10

Listen to Twisting Ways

A city-based, non-profit outfit who formed in 1977, the Winnipeg Jazz Orchestra have hosted some of the world’s best jazz talent over the years. Currently featuring the esteemed pianist and composer David Braid and the saxophonist, composer and improviser Philippe Côté, among many others, Twisting Ways continues their tradition of timeless jazz sounds.

The title track starts the listen with 4 chapters, where Sarah Slean’s enchanting, flawless pipes guide the soulful brass, frisky drumming from Eric Platz and skilled bass from Karl Kohut, as the setting alternates between big band busyness to calmer moments of power and melody.

The middle track, “Lydian Sky”, has Karly Epp handling vocals as much beauty enters alongside Shane Hicks’ flugelhorn, Mike Murley’s tenor sax and Keith Dyrda’s strategic trombone on the reflective, emotive landscape.

“Fleur Variation 3” exits the listen, and again has Epp’s radiant singing and scatting alongside Stefan Bauer’s vibraphone acrobatics and the many brass players who work together synergistically and methodically with much attention to detail.

The listen that’s rich with texture, poetic in its nature, and even takes nods to classical music, the Winnipeg Jazz Orchestra touch on the human experience with plenty of stirring solos and dynamic, absorbing musicianship between they many players present across this superb record.

Travels well with: CODE Quartet- Genealogy- TuneTown- Entering Utopia

Major Parkinson

Twilight Cinema

Apollon, 2021

9/10

Listen to Twilight Cinema

This is the 3rd album from the Norway staples Major Parkinson, and it just might be their most ambitious to date. Darker in scope while still retaining their doom like qualities and densely packed melodies, the aptly titled Twilight Cinema meshes pop, psychedelia and progressive song craft into a very stimulating affair.

“Skeleton Sangria” starts the listen with dark storytelling as a mysterious, cinematic climate unfolds with punchy drums and soaring strings, and “Impermanence” follows with a quick pace of well timed keys, haunting singing and a busy delivery that meshes alt-rock and prog-rock.

“The Wheelbarrow” occupies the middle spot and displays warm accordion that bursts into a carnival-esque version of rock, while “A Cabin In The Sky” is a playful, dance friendly journey into buzzing cabaret ideas that are as charming as they are unique.

Near the end, “Beaks Of Benevola” moves cautiously with soothing female vocals that builds into a symphonic rock adventure, and the title track exits the listen firm, innovative and steeped in iconoclastic song craft.

Originally released in 2014, this repress has colored vinyl options, and represents some of the most interesting music coming out of the always fertile Norwegian rock scene.

Travels well with: Wudewuse- Northern Gothic; Brudini- From Darkness, Light

Dabin Ryu

Wall

Self-Released, 2021

8/10

Listen to Wall

An esteemed pianist who is from Seoul, South Korea, though Dabin Ryu started her music journey at the age of 3 in the area of classical music, these days she’s firmly involved in jazz sounds on this debut where 10 originals are fleshed out with much help on guitars, brass and drums.

Ryu begins the album with “Light”, where her agile keys are met with a trio of soulful saxophones thanks to Nathan See, Boyce Griffith and Jarod Apple amid Willis Edmundon’s proficient drumming that won’t go unnoticed, and “I’ll Never Know” follows with a calmer pace where Kevin Scollings’ warm guitar and Benjamin Young's strategic bass complement Ryu’s precise piano.

In the middle, “Wall (Pt. 1)”, the only track with vocals, highlights Anthony Marsden’s expressive pipes alongside a bare setting of much beauty, while “Moon” mesmerizes with a pair of alto saxophones from See and Zoe Obadia in a timeless jazz climate. “Stillborn”, the lone solo tune, then displays Ryu’s divine playing as incredible detail unfolds with much skill.

Landing near the exit, “Taxi Driver” offers a dreamy setting of piano, bass and drums dancing around sublime melodies that can rumble with some firmness, and “We Will Meet Again” finishes the listen with a swift, busy execution of playful jazz where the brass shines alongside punchy drums, frisky bass, and, of course, Ryu’s finger acrobatics.

A Berklee College of Music graduate who also holds a master’s degree in jazz studies from the Manhattan School of Music, Ryu produced, composed and arranged this entire first record, and she did an incredible job. Quite possibly the most exciting rising artist in the area of jazz, Dabin Ryu is a name we’ll be hearing much more about.

Travels well with: Steve Hunt- Connections; Kendrick Scott Oracle- A Wall Becomes A Bridge

Caligonaut

Magnified As Giants

Apollon, 2021

9/10

Listen to Magnified As Giants

The solo project from Ole Michael Bjørndal, whose resume includes playing in Oak, Airbag and Bjørn Riis Band, as Caligonaut the singer and guitar player is in the company of members of Pymlico, Wobbler, Meer and Airbag on 4 deeply calculated tracks very much indebted to the classic ideas of prog-rock.

“Emperor” starts the listen with 14+ minutes of twinkling keys that abruptly bursts into a pounding display of crashing drums and thick guitars. Further on, the textures become calmer, even pretty, as orchestral moments meet post-rock sensibilities.

The middle tracks, “Hushed” and “Magnified As Giants”, are shorter, but no less interesting as warm acoustic guitar and a bare landscape make an impression on the former. The latter, and album highlight, then embraces much beauty and some of the best singing, where pop moments and retro nods meet at a captivating intersection of creative prog-rock.

“Lighter Than Air” exits the listen with nearly 20 minutes of subdued drumming and cozy guitar lines amid an ethereal climate that gets a bit more forceful 5 minutes in before exiting in dreamy, sparse territory.

A fascinating listen that brings to mind legends like Pink Floyd, King Crimson and even more current outfits like Tool, if you only pick up one prog-rock record this year, I’d make it Caligonaut, especially if you have an affinity for vintage keyboards and traces of folk music.

Travels well with: Suburban Savages- Demagogue Days; Laughing Stock- Zero, Acts 1 & 2

Suburban Savages

Demagogue Days

Apollon, 2021

9/10

Listen to Demagogue Days

Spearheaded by drummer Trond Gjellum, Suburban Savages are back with a 3rd album, and their unique brand of pop, rock and progressive sounds are both complex and basic across these charming 8 tracks.

The longest track, “Aroused And Confused”, starts the listen with punchy drums from Gjellum as fluid synth guides the playful prog landscape that benefits from Aleksandra Morozova’s pretty backing vocals, and “Taciturnity” follows with frisky percussion and a driving pace of soaring melodies amid spirited guitar work alongside the flowing synth.

In the middle, “Krystle Fox” presents a more modern indie-rock angle that still buzzes with dense synth in a vocal-less climate, while “Iconoclast” heads right back to the ‘60s with a jangly, vocally strong and musically busy display that even embraces chanting.

Near the end, “Under Mirrored Skies” builds into a lush and harmonic atmosphere of dynamic, retro fun, and “The Silence Afterwards” exits the listen with hypnotic, synthetic drumming and pop influences that flirts with a cinematic appeal.

Gjellum’s bandmates, Anders Kristian Krabberod, Mari Lesteberg and Thomas Meidell, also sing and play multiple instruments each, and it results in a diverse and nostalgic listen that’s heavier on vocals then their previous work, and you won’t hear me complaining about that.

Travels well with: 35 Tapes- Home; Laughing Stock- Zero, Acts 1 & 2

Laughing Stock

Zero, Acts 1 & 2

Apollon, 2021

8/10

Listen to Zero, Acts 1 & 2

The progressive and unconventional Norwegian trio Laughing Stock have yet to disappoint me, and Zero continues their inviting and absorbing brand of rock with another concept album about a boy named Zero, who resides with his troubled mother and hides in a world of video games and isolation.

“Welcome” starts the listen with no shortage of melody as soft singing and textured beauty that leads into the mysterious atmosphere of “When Darkness Comes”, where a subdued approach of eloquent, dreamy rock unfolds with much detail.

Closer to the halfway point, the soothing synth of “School” flows amid jangly acoustic guitar as a playful folk approach enters, while “Child” recruits piano and strings for a hazy, slow burning album highlight that’s full of sublime beauty. “My Love, Part 1”, then unfolds with a poetic quality as an emotive, nearly cathartic delivery of artistic song craft.

“Zero” and “Curtain Falls” finish the listen, where the former weaves in and out of prog-friendly layers of restraint and the latter is a brief, pretty execution of cautious, elegant and relaxing song writing.

This installment only tells half of Zero’s story, and we should expect the remaining acts later this year, which, of course, means more greatness that’s somewhere between pop, prog and folk rock.

Travels well with: 35 Tapes- Home; Chris Wicked- Aleine

35 Tapes

Home

Apollon, 2021

8/10

Listen to Home

A trio from Oslo who are firmly indebted to the ‘70s, Morten Lund, Jarle Wangen, Andreas Eriksen and Bjorn Stokkeland, i.e. 35 Tapes, deliver an easy going and feel good brand of progressive rock on this instantly enjoyable sophomore album.

“Undertows” starts the listen with mysterious keys as a throwback atmosphere is built with thumping drums, bouncy guitar lines and laid back singing, and this retro formula continues to the acoustic guitar fueled and dreamy “Wave”, as well as the soothing, agile and highly melodic “Well”.

The back half of the listen includes the fuller, textured beauty of “Onward”, while the sprawling 9+ minutes of “Walk” is prog-rock genius that soars high amid a timeless spirit. “Epilogue”, the album’s last track, then offers a swirling, sonic adventure of serene melodies, bouts of more furious song craft, and a vintage quality that we will never tire of.

The 35 tape rolls of the Mellotron made quite an impression on the band many decades ago, and their precise use of keys, perch, lap steel, guitar and bass alongside flowing vocals from Lund and Wangen makes for a very warm, retro appeal on this superb 2nd record.

Travels well with: Wudewuse- Northern Gothic; Pymlico- On This Day

Chris Wicked

Aleine

Apollon, 2021

8/10

Listen to Aleine

Perhaps best known for his work in Malice In Wonderland, Chris Wicked solo maintains the creativity of his former full band work- albeit in gentler territory- as Wicked sings in his native tongue and friends from bands like Gorgoroth, Shining and Helheim are in attendance.

“Ravneprins” starts the listen with warm, bare electric guitar as soft, expressive singing enters the moody, agile rock song, and “Aleine” follows with contributions from Gaahl as a buzzing and melodic atmosphere of charged yet cautious alt-rock develops.

In the middle, “Eg Går Der Ingen Engler Våger” benefits from smooth singing as precise drumming and spirited guitar work meet at a very reflective intersection, while “Sørgebånd” is a dreamy display of subdued beauty that’s atmospheric and memorable.

Residing near the end, “Bare Deg og Meg og Natten” builds into a gritty yet tuneful setting amid an often tense climate, and “Bergen, Bergen” exits the listen closer to folk rock as acoustic guitar and poetic singing finish a very well thought out 8 tracks.

A debut that involves many players from Norway’s black metal scene, Aleine, though often ominous at its core, is quite pretty, actually, where an artistic quality takes nods to Nick Cave or David Bowie.

Travels well with: Aadal- Silver; De Press- Body Manifest

Korby Lenker

Man In The Maroon

Grind Ethos, 2021

9/10

Listen to Man In The Maroon

The singer-songwriter and multi-instrumentalist Korby Lenker returns with an 8th studio album, where the renaissance man offers 9 originals, a short story (he’s also an author) and a very adventurous cover.

“All In My Head” starts the listen with a playful version of indie-folk that’s not short on melody as spirited guitar work and punchy drumming highlights the mood, and “Crow Country” follows with swift banjo, where a unique form of Americana is both intimate and atmospheric.

Some of the best tricks reside in the middle, including the calm beauty of “What’s Wrong With Us”, where Lenker handles piano, while “Now I Once Thought That I Was Strong” flows with a singer-songwriter quality that emits a gospel influence in Lenker’s very capable hands.. “Christmas Rain” then gets a bit rugged as vivid storytelling enters the curious twist on holiday music.

Near the end, “Mose And Ella” is 14+ minutes of a live reading of an original short story, and “Moon River” exits the listen with a creative, dreamy interpretation of the classic that’s bare, heartfelt and about as distinct a version as you’re likely to find anywhere.

A road warrior who routinely plays 150 shows a year, forced time off the road in 2020 certainly contributed to this career highlight effort that’s an extension of Lenker’s live show, where his multifaceted skills illustrate a timeless, diverse and focused body of work.

Travels well with: Peter Mulvey- There Is Another World; Mark Erelli- Blindsided

Desert Hollow

Thirsty

Mule Kick, 2021

9/10

Listen to Thirsty

The debut from a duo comprised of multi-instrumentalists Xander Hitzig and Nicole Olney, as Desert Hollow the West Virginian and desert Californian birth a unique and exciting form of Americana that flirts with bluegrass, folk and country, too.

The title track starts with warm banjo playing as gorgeous vocal harmonies unfold with an inviting bluegrass spirit that’s still steeped in folk music, and “I Can’t Wait For Summer” follows with both fiddle and banjo emitting much rural beauty as Matt Lucich adds proficient drumming to the glorious setting.

The middle spot is occupied by “Look At Those Birds”, where a more cautious approach radiates with intricate guitar picking alongside an intimate climate, while “Take Me Back To Nowhere” shuffles with a country flavor that’s bouncy and dance friendly. “Mary” exits the listen, and embraces a poetic, folk-pop formula that’s as memorable as it is precise.

A very well executed EP, contributions from Lucich, James Hutchinson (bass), Johnny Hawthorn (steel guitar), and Adrienne Isom (bass) won’t go unnoticed on this anthemic and also vulnerable first record that shows much potential for further greatness on the horizon.

Travels well with: Ben Bostick- Among The Faceless Crowd; Soo Line Loons- Soo Line Loons

Christopher Cerrone

The Arching Path

In A Circle, 2021

8/10

Listen to The Arching Path

The composer and musician Christopher Cerrone landed himself a Grammy nomination for 2019’s The Pieces That Fall To Earth, and this follow up album retains a similar level of impact as Timo Andres, Lindsay Kesselman, Ian Rosenbaum and Mingzhe Wang accompany him across the 4 chapter affair.

The title track starts the listen with 3 adventurous movements that are solo piano in Andres’ capable hands that almost makes the piano sound like a tool before transitioning into a tense execution of dynamic key prowess. “Double Happiness” follows, and brings a soothing atmosphere of field recordings as Cerrone’s electronics adds much mood to the reflective climate that also benefits from Ian Rosenbaum’s radiant percussion.

The back half of the listen includes the soaring soprano from Lindsay Kesselman and clarinet thanks to Mingzhe Wang’s as classical and chamber ideas meet at the very creative intersection that is “I Will Learn To Love A Person”. “Hoyt-Schermerhorn” exits the listen with just piano and faint electronics in a sublime and emotive finish of electro-acoustic song craft that was inspired by a subway that Cerrone frequents.

Inspired by Cerrone’s trip to Italy, and written between 2010 and 2016, The Arching Path is exceptionally meticulous, and manipulates pitch and timbre in both rich and intimate ways that will appeal to fans of ambient, minimal and modern classical textures.

Travels well with: Peter Gilbert- Burned Into The Orange; Douglas Boyce- The Hunt By Night

Calabria Foti

Prelude To A Kiss

Moco, 2019

8/10

Listen to Prelude To A Kiss

Violinist and singer Calabria Foti made her 4th album quite an exceptional one, as she brings in an orchestra and many arrangers for an effort that parallels the timelessness of her idols Sinatra and Garland.

The title track starts the listen with sweeping beauty as strings and trombone support the gorgeous vocals, and “I Had To Fall In Love With You” follows with a romantic mood as a flowing guitar solo from Larry Koonse adds much to the setting.

Near the middle, “When I Look In Your Eyes” uses strategic keys in the vocally expressive tune, while “Goodbye” gets playful with guitars and percussion working elegantly together.

Deeper cuts bring us the cautious “The Folks Who Live On The Hill”, which displays a lounge feeling, and “It’s The Mood That I’m In” emits a radiant, timeless jazz quality. “I’m Home” exits the listen with an emotive delivery from Foti as her flawless pipes keep us enthralled and hanging on every note.

Foti is in great company here as Peter Erskine, Bob McChesney and Roger Kellaway, among others, help illuminate these thoughtful songs you won’t forget anytime soon.

Travels well with: Anne Phillips- Live At The Jazz Bakery; Jelena Jovovic- Heartbeat