Timuçin Şahin's Flow State

Funk Poems For ‘Bird’

Kalan, 2022

8/10

Listen to Funk Poems For ‘Bird’

The guitarist/composer Timuçin Şahin pays tribute to the legend that is Charlie Parker, and his distinct brand of classical and improvisational avant-garde sounds are in fine form.

“Homage To Bird” opens the listen with Sean Rickman’s skilled drumming alongside Sahin’s unpredictable and exciting guitar and much atmosphere, and “Bird Watchers” follows with Reggie Washington’s playful bass complementing the spirited guitar and frisky piano from Cory Smythe in the atypical jazz climate.

Halfway through, “Confirmation on 26-2” emits a very spontaneous, wild demeanor with acrobatic drumming and animated guitar playing, while “After Bird” flows with a very lively approach that balances swift drums and melodic guitar amid the exploratory free jazz tendencies.

Close to the end, “The Sixth Sense Of The Platypus” carries a unique rhythm that even emits some post-rock nods and math-rock bouts, and “Confirmation On 1” exits with Sahin’s precise and complicated guitar playing in the very warm and reflective finish.

An extremely distinct listen that uses double neck guitar, standard neck, fretless neck and baritone guitar, the music here is quite alluring and the detailed booklet adds even more appeal to this substantial body of work.

Travels well with: Aaron Myers-Brooks- Oblique; Greg Stuart- Subtractions

Eric Martinez

Caldera

Color Red, 2022

8/10

Listen to Caldera

The Denver resident Eric Martinez fleshes out an album of all originals, where he takes help from some impressive names such as Todd Nance (Widespread Panic) and Daniel Hutchens (Bloodkin), plus many more.

“Laura Lee” gets the listen off to warm, soulful start, where expressive singing and retro-rock ideas enter the melodic climate, and “Hollywood Harlequin” follows with a swift and breezy spirit, as thumping drums and precise guitars make for a rootsy delivery.

“Rooming House” and “Dirty Martinis” land in the middle, where the former is a lush, intimate display of rugged yet tuneful song craft, while the latter emits a timeless folk-rock demeanor that’s poetic and sometimes a bit more forceful.

Close to the end, the gritty “Here Comes The Wind” swirls with a harmonic presence amid the underlying rock’n’roll ruggedness, and “Can’t Stand Up” exits the listen with a cautious, dreamy landscape that illustrates the depth of Martinez’s vision.

Martinez also takes help from Eric Carter, Josh Stack, and Stefan Kruger, and together it makes for a very diverse and nostalgic listen that borrows from classic rock, blues, ‘70s sounds and Americana, among other influences, for the very unassuming listen.

Travels well with: The New Mastersounds- The Deplar Effect; Josh Hoyer & Soul Colossal- Green Light

Williamson Branch

Very Merry Christmas

Pinecastle, 2022

8/10

Listen to Very Merry Christmas

The family band Williamson Branch make the most of their first holiday album with these 14 new recordings that includes a few originals and makes the most of their harmonic, bluegrass ways.

The title track gets the listen off to a very warm start, where Caroline Williamson’s fiddle and Anthony Howell’s banjo complement the very pretty vocal harmonies, and ‘God Rest Ye Merry, Gentlemen” follows with a calmer approach that benefits from Chris Brown’s agile drums and Kadence Williamson’s well timed bass in the mood focused tune.

Approaching the middle, the bouncy spirit of “Rockin’ Around The Christmas Tree” features Jimmy Fortune on lead vocals amid Buddy Hyatt’s playful keys, while “Coal In My Stocking”, an original, showcases Caroline’s sweet voice and skilled mandolin front and center, though Kevin Williamson’s harmony vocals and rhythm guitar sure do make an impression, too.

Closer to the end, the intimate “There’s A New Kid In Town” lands firmly in gospel territory with its religious wordplay and soothing musicianship, and “Sleigh Ride” will get your body moving to its infectious energy thanks to the crisp drums, free wheelin’ banjo and lively mandolin.

A record that you can listen to anytime of the year, the youngsters deliver like seasoned vets, and the band, as always, balance their craft with very fun, thoughtful and precise bluegrass.

Travels well with: Merle Monroe- Songs Of A Simple Life; Wilson Banjo Co.- Six Degrees Of Separation

Eufórquestra

While We Still Got Time

Color Red, 2022

8/10

Listen to While We Still Got Time

A band that reinvented themselves during the pandemic, Eufórquestra brings us new writings that shift direction while still embracing their well received modern funk and retro soul spirit.

“Arizona To Georgia” opens the listen with lively drumming and soulful vocals that guide the rhythmic rocker that’s not short on grooves either, and “Giving It All” follows with bright brass and playful organ, where a breezy, reggae influenced climate sets in.

Halfway through, “Still Got Time” showcases Kim Dawson’s soaring, expressive vocals amid the pop nods that really benefits from Jeff Peterson’s proficient drumming, while “Higher” heads right onto the dance floor with its funk friendly demeanor that also retreats to calm, intimate moments.

Moving towards the end, “Satisfied” makes great use of Otis Lande’s frisky bass lines alongside the powerful singing and well timed horns, and “Hands On The Wheel” exits with Matthew Wright’s smooth voice and the dynamic, diverse musicianship making for a lush and meticulous finish.

A band who are nearing two decades together, Eufórquestra’s inimitable meshing of funk, rock, dub, roots, soul, reggae, afro-beat and world music sensibilities sure does make for a memorable listen.

Travels well with: Pimps Of Joytime- Jukestone Paradise; Josh Hoyer & Soul Colossal- Green Light

Jim Self

My America 2: Destinations

Basset Hound, 2023

8/10

Listen to My America 2: Destinations

The well traveled tuba extraordinaire Jim Self documents many places across the country he’s worked and lived with this aptly titled listen, where a large cast of players accompany him across the unique jazz affair.

“Chicago” opens the listen with Scott Whitfield’s vibrant trombone and Ron Stout’s bright trumpet adding much to the lively climate, and “By The Time I Get To Phoenix” follows with a calm, soulful approach of twinkling piano from Bill Cunliffe complementing Self’s stirring tuba.

Further along, the snappy “King of Route 66” places Ken Wild on string bass and John Chiodini on guitar for the highly melodic album highlight, while “I Love LA” trims the pace back intially with an intimacy that builds into an animated jazz rocker thanks to Steve Fister’s guitar and Brian Kilgore’s marimba.

Deeper yet, Self’s interpretation of the “Washington Post March” results in the firm drums, frisky rhythm and some ominous moments as “Washington Postmodern”, and “S.L.O. Blues” exits with Kendal Kays’ agile drums front and center amid Self’s well timed tuba and Wild’s infectious bass lines.

This follow up recording arrives about 20 years after the first one, and it’s as diverse as it is timeless, and shuffles, swings and embraces cultured moments, too. Let’s just hope installment 3 isn’t decades away.

Travels well with: Paul Marinaro- Not Quite Yet; Steve Knight- Persistence

Orion Weiss

Arc II: Ravel, Brahms, Shostakovich

First Hand, 2022

8/10

Listen to Arc II: Ravel, Brahms, Shostakovich

A listen that seeks to understand how composers deal with grief, the inimitable pianist Orion Weiss interprets the work of Ravel, Brahms and Shostakovich with his very technical and agile skills that pay much attention to mood.

Maurice Ravel’s “Le Tombeau de Couperin” opens the listen with the fluid and acrobatic keys that loop with a cathartic, stirring presence, and “Variations On A Theme”, by Johannes Brahms, follows with a stirring documentation of loss that emits a very intimate and emotional demeanor.

In the middle, “Piano Sonata No.2 in B minor” flows with rawness and romantic gestures in Dmitri Shostakovich’s piece about his piano teacher who died in the mass evacuation from Leningrad, while Brahms’ “11 Chorale Preludes, Op. 122” exits in more religious areas that are heartbreaking and the last that Brahms would write after losing a lifelong friend.

Weiss continues his esteemed catalog of music with these lush, warm and passionate pieces. There is more to come in this series, and Arc III promises to be full of excitement and renewal.

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

John Paul McGee

Gospejazzical

Jazz Urbane, 2022

8/10

Listen to Gospejazzical

A classically trained pianist who has played alongside Patti Labelle, Yolanda Adams, The Clark Sisters and many more, this aptly titled album has John Paul McGee bringing along Joel Powell on bass and Tyson Jackson behind the drum kit, plus many guests.

“Wonderful Is Your Name” starts the listen with McGree’s flowing keys amid the playful bass and swift drums in the warm jazz climate, and “I Am Amazed” follows with a calmer approach of stirring piano in the solo climate that’s quite intimate.

Some of the best tracks reside in the middle, where “Manifest” has the trio working together in a reflective and stylish manner, while “A City Called Heaven” features Amber Bullock’s stunning pipes complementing McGee’s agile finger acrobatics.

The setting turns fast and frisky with the meticulous energy of “Book Of Life”, where Zebulon Ellis lends his expressive and soaring vocals to the album highlight, and “The Lord Will Make A Way A Somehow” exits with Michael Walton’s well timed sax adding much to the bouncy bass lines and firm piano prowess of the rock focused finish.

A truly exceptional mashing of gospel, jazz and classical, McGee and company bring us both live and studio recordings here, and it comes with much sincerity, artistry and skill that makes an indelible impression.

Travels well with: In Real Time- Blue Shift; Amos Gillespie- Unstructured Time

The Stubborn Lovers

Come A Reckoning

Self-Released, 2022

9/10

Listen to Come A Reckoning

An alt-country outfit from Portland, Oregon, The Stubborn Lovers are comprised of Mandy Allen (vocals, acoustic guitar, percussion), Jenny Taylor (bass guitar, backing vocals) and Pearl (drums, percussion, backing vocals), but they also welcome plenty of guests to these rootsy, outlaw, country fueled tracks.

“Counting Feathers On A Sparrow’s Wing” opens the listen with Todd Melton’s spirited electric guitar and Robin Suskind’s warm pedal steel adding much energy to the brisk roots rock, and “You Take Tacoma, I’ll Take My Chances” follows with gorgeous and melodic Americana that’s so well done, it alone is worth the price of admission.

Elsewhere, “Right” places Antar Goodwin on slide guitar for the rugged yet tuneful landscape that’s got a bit of soul to it, while “Ghost Train” employs well timed backing vocals for the crisp and charming alt-country that emits much grit, too.

Arriving near the end, “Devil Take My Heart” finds itself in calmer areas by way of the intimate, even dreamy textures that incorporates Dylan Rieck’s cello, and “Cottonwood Run” exits the listen with Jake Blount’s harmonica adding much to the cautious yet adventurous layers.

For fans of roots, Americana, country and even jam band ideas, it just doesn’t get much better than this, and I find it very unlikely you could spend any time with these 9 tracks and not call yourself a fan.

Travels well with: Kenny Shore- Time Stands Still; James Houlahan- Beyond The Borders

Rose Wollman

Loop: Ligeti’s Inspiration & Legacy

Acis, 2022

8/10

Listen to Loop: Ligeti’s Inspiration & Legacy

The impressive violist Rose Wollman honors the 100th anniversary of the birth of composer György Ligeti with these baroque versus newly commissioned pieces that are as unpredictable as they are intelligent.

Bach’s “Suite No. 5 in C Minor, BWV 1011:1 Prelude” starts the listen with Wollman’s stirring strings emitting much beauty and grace, and “Sonata for Viola Solo I. Hora Lunga” follows with an absorbing intimacy as her skilled playing really tugs on the heartstrings.

Deeper down the line, “Solo for Viola and Electronics” is quite creative, where the synthetic and organic are paired with much mystery, while “Wanderlust”, an original, moves with slow burning approach of cautiously bowed strings and twinkling, plucked moments.

Nearing the end, “Caprice Fourteen (Gyorgy)” displays very exciting, sometimes intense manipulation of her instrument in cinematic ways, and Natalie Williams’ “Ciklus” exits the listen with gentle ebbs of reflective, eloquent song craft.

A very rich, technical and often moving listen, Wollman’s techniques and tonal range makes all 18 tracks here fascinating and even enlightening.

Travels well with: Shawn Crouch- Chaos Theory; Arlen Hlusko & Scott Ordway- Nineteen Movements For Unaccompanied Cello

Churchwood

6: The Boule Oui

Saustex, 2022

9/10

Listen to 6: The Boule Oui

Though there’s many unique bands in Austin these days, few will ever parallel the creativity of Churchwood, whose atypical version of rock welcomes blues, poetry, post-punk and experimental stabs that are as vibrant as ever across these 11 tracks.

The album gets off to a lively start with the title track, where Eric Bohlke’s crashing drums and Joe Doerr’s harmonica add much rhythm to the thick, rootsy flavor, and “Umbrella Man” follows with Bill Anderson’s warm, mesmerizing guitar complementing the hypnotic garage rock formula.

Deeper into the listen, “Secular Sinner” offers a melodic and Celtic influenced rocker that benefits from Phil Davidson’s violin, while “Gaslight” welcomes Matt Kelly’s agile keys to the psyche-friendly, swirling album highlight.

Landing closer to the end, the calm, mysterious “Witch Doctor” howls with a soulful quality that showcases Adam Kahan’s precise bass, and “Goin’ Home” exits with both intimacy and exploration populating the bluesy, powerful and articulate finish.

An avant-garde affair that’s eccentric in all the best ways, Churchwood’s self-described "dystopic blues" will be sure to have immense appeal for the ears that appreciate the atypical.

Travels well with: Joecephus And The George Jonestown Massacre- Snowblind In The Rising Sun; The Beaumonts- This Is Austin

Sam Platts & The Plainsmen

West Side

Self-Released, 2022

8/10

Listen to West Side

A lively Americana outfit from Montana, Sam Platts & The Plainsmen also don’t shy away from swing and country sounds across these 11 very authentic tunes.

“Just In Time” opens the listen with an old time feel, where J Kane’s playful upright bass complements Sam’s deep, expressive vocals, and “Seven Times A Day” follows with Lilly Platt’s skilled fiddle adding much intrigue amid the country fueled melodies and dusty beauty.

Deeper into the listen, the vivid storytelling of “If You Haven’t Met The Wolf” benefits much from group vocal harmonies, while the lush strings and dreamy guitar of “West Side” makes this one of the album’s best, and really showcases Sam’s distinct baritone.

Near to the end, “The High Cost Of Low Living” is quite intimate, and benefits much from Lilly’s stirring fiddle, and “You Care Enough To Lie” exits with an upbeat and timeless brand of nostalgic country sounds that makes good use of Bill Dwyer’s spirited electric guitar.

The songs here were tracked live, and thus stay true to the genre, and the retro-country and rich textures embraces charming rhythm, frisky melodies and sharp lyricism that will absolutely impress those with an ear for the genre.

Travels well with: The Shootouts- Bullseye; The Beat Farmers- Tales Of The New West

Joecephus And The George Jonestown Massacre

Snowblind In The Rising Sun

Saustex, 2022

10/10

Listen to Snowblind In The Rising Sun

The Memphis rockers Joecephus And The George Jonestown Massacre brings us all originals here, where themes of their travels and all the problems plaguing society right now are soundtracked by punk, blues, Southern rock and even metal ideas.

“Voices” gets the listen off to a lively start with thumping drums, driving riffs and gritty yet smooth singing in the searing Southern rock, and “Summer of 93” follows with a more dense approach that borders on hard-rock with its thick rhythm section.

“Nothing To Lose” lands at the halfway point, and bring both rawness and tunefulness to the swirling delivery, while “Life Of The Party” is actually quite calm before bursting into a furious display of hard hitting punk fueled country rock that benefits from acrobatic bass playing.

“Bleed The Day” and “Change The Channel” exit the listen, where the former is a bit ominous, and even embraces some stoner rock nods, and the latter recruits some bluesy swells that soars amid crisp drums and mesmerizing guitars.

There aren’t too many albums that can remind you of Johnny Cash, Melvins, and Dead Kennedys in one song, but this is one of them, and you’d be hard pressed to find anything else out there that grabs you by the throat quite like Snowblind In The Rising Sun.

Travels well with: The Beaumonts- This Is Austin; Hickoids- All The World’s A Dressing Room: Live In L.A. 08.24.2018

Aspen Jacobsen

Arsonist Daughter

Self-Released, 2022

8/10

Listen to Arsonist Daughter

The debut album from the 18 year old vocalist Aspen Jacobsen, the 11 originals present find themselves in the area of roots sounds, where similarities to Joni Mitchell, Ani DiFranco and Anais Mitchell won’t be difficult to spot, and country and folk influences are certainly in attendance, too.

“Shouldn’t Give A Damn” opens the listen with Jacobsen’s charming vocals, where guitars, bass, fiddle and drums help cultivate a warm, upbeat roots feeling, and “Damned Dynasty” follows with a calmer approach of soulful Americana that showcases some tuneful, bluesy guitars, too.

Further along, “Monday Mourning” finds itself in intimate areas of cello playing amid a haunting quality that addresses gun violence, while “Dear Brother” recruits violin for a very personal, therapeutic look at mental health in Jacobsen’s raw delivery.

The final two tracks, “Arsonist Daughter” and “Arson”, are equally stirring, where the former is quite poetic in its bare beauty, and the latter meshes guitar, fiddle and wordless vocals into an ambient formula of dreamy, absorbing song craft.

Also a talented multi-instrumentalist who plays acoustic guitar, electric guitar, bass, mandolin piano, keyboard and ukulele, and who is well versed in arranging songs for others, it seems that there isn’t much that Jacobsen can’t do in the area of music, as evidenced by this excellent first record.

Travels well with: The Accidentals- Time Out Session #2; Birdtalker- One

Bazooka

Kapou Allou

Inner Ear, 2022

9/10

Listen to Kapou Allou

The Athens, Greece punks Bazooka sure did impress me with 2019’s Zero Hits, and this follow up and 4th album continues their psych-rock and ‘60s influences that are as creative as they are memorable.

“Kata Vathos” starts the listen with warm acoustic guitar, as poetic singing enters the folk-rock climate, and “Krifto” follows with thumping drums, group vocals and a scrappy version of rock that’s got plenty of playful guitar playing.

Halfway through, “Dikia Mou Alithia” recruits a charged, post-punk feel that’s gritty but tuneful, while “Katarameni” radiates an animated garage-rock approach that’s highly melodic in a head bobbin’, toe tappin’ sort of way.

Landing near the end, “Jazooka” is a bit more reserved, intimate even, but not without buzzing bursts of fuzzed out rock amid the creative psyche-exploration, and “Veloudino Kako” exits with the most upbeat, cultured and harmonic track that cements just how diverse this body of work is.

Although it’s very much a guitar driven affair, there’s a healthy amount of synth and organ, too, and Bazooka’s indie-rock meets post-punk meets retro-rock mashing is as exciting as ever and worth plenty of global attention.

Travels well with: Bazooka- Zero Hits; Pulsar Ensemble- Bizarre City

Aaron Myers-Brooks

Oblique

New Focus, 2022

9/10

Listen to Oblique

The guitarist and composer Aaron Myers-Brooks is quite versed in microtonal sounds, and across these very distinct pieces he manipulates pitch with plenty of polyrhythmic ideas.

“The 11th and 6th Caves” leads the listen with both calm and distorted guitar acrobatics that touches on classic rock riffage and soothing bouts, and “Prelude To Entity” follows with digital piano and electric guitar meeting at a place of harmonic gestures and solo friendly moments.

In the middle, “Energy Shapes No. 3” is a trio for a single performer, where electric guitar, digital processing and an FM synthesizer get a bit spacey but also don’t shy away from heavy choruses and fragmented exploration, while “Sonata for Solo 17-Tone Guitar” unfolds across 3 movements of rhythmic, angular and haunting guitar prowess.

The final track, “Eight HighC Miniatures”, provides ‘alien environments to briefly inhabit’, and it’s full of synthesized sound that’s cinematic, sonically mysterious and even otherworldly.

A very avant-garde experience that retains bits from his metal bands AutoReplicant and Monochromatic Residua and folk duo Familiar, this is an ultra-creative and eclectic peek into the mind of an artist with a truly iconoclastic vision.

Travels well with: Greg Stuart- Subtractions; Departure Duo- Immensity Of

Mary-Catherine Pazzano

Christmas: Live At The Jazz Room

Glorious Feeling, 2022

8/10

Listen to Christmas: Live At The Jazz Room

The Canadian jazz vocalist brings us a live off the floor album of tracks that are reimagined in her timeless vision that pays tribute to songs she grew up with, and are still a part of many people’s holiday season.

“I’ve Got My Love To Keep Me Warm/It’s The Holiday Season” starts the listen with Steve James’ frisky drums complementing Pazzano’s smooth and expressive pipes, and “The Christmas Song” follows with Mark Eisenman’s elegant piano alongside the intimate singing that’s quite absorbing.

Further along, Joni Mitchell’s river is reborn here with soft piano melodies and poetic singing, while “Manhattan In December” is an upbeat and very charming display of playful bass plucking from Pat Collins, not to mention Pazzano’s impressive range.

Nearing the end, “Let It Snow! Let It Snow!/Snow” is as infectious as we all remember and highlights Pazzano’s very inviting voice amid the bouncy rhythm section and Jason Hunter’s soulful sax, and “O Holy Night” exits the listen with powerful, emotive singing that soars high next to the pretty, mature musicianship.

A very energetic set that’s vocally flawless and musically diverse, Pazzano puts an inimitable and enjoyable spin on songs that we can revisit all year, not just Christmas.

Travels well with: Kate Hamann- Momentary Beauty; Marilyn Scott- The Landscape

Ant Law & Alex Hitchcock

Same Moon In The Same World

Outside In Music, 2022

8/10

Listen to Same Moon In The Same World

The tenox saxophonist Alex Hitchcock and guitarist Ant Law come together along with an international roster of additional players for 8 originals and a cover that spans many creative ideas in the area of jazz.

“Outliers” opens the listen with a mesmerizing guitar line, as acrobatic drumming and Linda May Han Oh’s strategic bass enters the playful climate, and “Haven’t Meta Yet” follows with Eric Harland’s very skilled drumming complementing Hitchcock’s bright brass amid the swift melodies.

In the middle, “Third I” welcomes Shai Maestro’s agile keys to the intimate and sublime delivery that even gets a bit dreamy and showcases Kendrick Scott’s inimitable drumming, while “Vivid” benefits from Joel Ross’ atmospheric vibraphone alongside the wordless vocals on the very reflective album highlight.

The final two tracks are equally interesting, where “Don’t Wait Too Long” focuses on acoustic guitar and spotlights Jeff Ballard’s precise drums and Ben Williams’ cozy bass, and “After The Rain”, a Coltrane original, fades out in a haze of ambient guitar and soulful sax.

An exceptional collaboration between two of the most creative minds of the UK scene, let’s hope that Law and Hitchcock continue to work together, cause few others will make jazz sounds with melodic ideas quite like this.

Travels well with: Kendrick Scott Oracle- A Wall Becomes A Bridge; Kurt Rosenwinkel- Stars Of Jupiter

Melissa Carper

Ramblin’ Soul

Thirty Tigers, 2022

8/10

Ramblin’ Soul

An aptly titled record from an artist who has had the good fortune to tour around the country and perform, Melissa Carper adds more grooves and an emphasis on an upbeat demeanor across her R&B, jazz and country influences.

The title track opens the listen with Carper’s inimitable old time feel amid soulful backing vocals, warm guitar, playful piano and frisky drums, and “Zen Buddha” follows with an upbeat rhythm that sounds like should soundtrack a dance at a saloon with its lively guitar work.

Arriving near the middle, “That’s My Only Regret” finds itself in intimate territory with aching pedal steel guitar and stirring fiddle, while “Hit Or Miss” strums an acoustic guitar with folk friendly ideas that are as timeless as they are memorable.

Close to the end, the agile clarinet and charming piano of “Holding All The Cards” helps make this one of the album’s best, and “Hanging On To You” exits the listen with strategic organ, crisp drums, and, of course, Carper’s very distinct and alluring pipes.

A record that often seems like it could have been penned in the ‘40s, Carper also flirts with western swing, soul and bluegrass, and the covers of Brennen Leigh and Odetta only further solidify this as her best work yet.

Travels well with: Sad Daddy- Way Up In The Hills; The Local Honeys- The Local Honeys

Tod Lippy

Closer Than They Appear

Self-Released, 2022

8/10

Listen to Closer Than They Appear

An artist who has received much praise for his award-winning arts journal Esopus, Tod Lippy brings his esteemed vision to a handful of diverse covers here, where he takes help from Jeff Lipstein on drums and percussion.

“Don’t Come Around Here No More” starts the listen with thumping drums and much attention to mood in the dense versus soft moments of the Tom Petty classic, and “Point Of Disgust” follows with a rare intimacy that’s mysterious and stirring and certainly does justice to Low, the Minnesota heroes who penned it.

Further on, the Atlanta Rhythm Section’s “So Into You’ flows with warm keys and a mesmerizing delivery, while “Sick Of Food” focuses much on the emotive piano playing, where Lippy’s expressive delivery suites the American Music Club original.

Closer to the end, “Hey Goodbye” finds itself in the club with its buzzing and synth fueled dance-rock, and of the 2 bonus tracks, “Wrap Your Troubles In Dreams”, the Roy Merchant Remix, is quite adventurous with plenty of percussive sounds and electro-pop nods that also welcomes piano and soft singing.

A collection of well done interpretations, Lippy puts a very distinct spin on songs he loves, and you, too, will likely be fond of them after hearing them fleshed out like this.

Travels well with: Ewan MacFarlane- Always Everlong; Tod Lippy- Yearbook

andPlay

Playlist

New Focus, 2019

8/10

Listen to Playlist

andPlay is the duo of violinist Maya Bennardo and violist Hannah Levinson, and on Playlist the pair deliver the work of David Bird, Clara Iannotta and Ashkhan Behzadi with precision, mystery and a whole lot of varied sounds.

“Crescita Plastica” starts the listen with almost sci-fi sounding strings, as dramatic tension is met with adventurous ideas and cautious manipulation, and “Bezier” follows with a similar approach where a cinematic quality invades the unpredictable setting that’s playful, textured and sometimes vulnerable.

The back half of the listen offers “Limun”, which, at over 7 minutes, is the shortest tune but no less impactful with acrobatic swells of sharp violin, and “Apocrypha” ends the listen haunting and with electronics, as the balance between digital and organic unfolds with ingenuity.

Though this is their debut as andPlay, Bennardo and Levinson have both been involved in many other outfits. Together, however, their dynamic sensibilities and keen sense of song craft collide with an inimitable, extraordinary performance.

Travels well with: Hilary Hahn & Hauschka- Silfra; Joshua Bell- Voice Of The Violin