Thurston Moore

By The Fire

Daydream Library Series, 2020

7/10

Listen to By The Fire

On Thurston Moore’s 7th album, the legendary alt-rocker takes up company with Deb Googe (My Bloody Valentine), Jon Leidecker (Negativland), James Sedwards, Jem Doulton and Steve Shelley (Sonic Youth) on 9 elaborate tracks that span across 2 discs.

“Hashish” starts the listen with Moore’s inimitable, hypnotic guitar prowess that always drew us into Sonic Youth songs, as the hazy rocker welcomes crisp percussion amid Moore’s laidback singing, and “Cantaloupe” follows with a dense, crunchy display of tense alt-rock.

The highlight of Disc 1, “Siren”, spends 12 minutes sprawling out around post-rock with both intimacy and exploration as soft vocals don’t enter until 9 minutes into the dreamy climate, and “Calligraphy” finishes this portion a bit more sparse with shimmering guitar floating alongside Moore’s minimal but effective vocals.

Disc 2 leads with the nearly 17 minutes of “Locomotives”, where tribal-esque droning and spacey bouts build into a sonic wall of noise before abruptly falling into jangly indie-rock that covers a wide amount of textures from jagged to soothing. “‘Dreamers Work” then goes the opposite direction with a light and airy execution of restrained, reflective song craft alongside some of the best singing on the effort. “Venus”, the final track and only true instrumental, exits the listen with a blurry, cinematic appeal that often sounds like it could soundtrack a sci-fi movie

A record that sounds exactly like what you’d expect from Moore, and at times not at all what you’d imagine, if there’s one thing we can always count on from the former frontman of Sonic Youth it’s challenging, daring song craft that’s iconoclastic in nature, and By The Fire certainly has plenty of it.

Travels well with: Swans- leaving meaning; The Flaming Lips- King’s Mouth Music And Songs

David Lockeretz

Mulligan!

Self-Released, 2020

8/10

Listen to Mulligan!

The bassist for Outside Pedestrian, the multi-instrumentalist David Lockeretz returns here with a solo album, where his creative version of jazz comes with vibraphone, accordion and theremin, among others, on the well thought out Mulligan!

Lockeretz starts the listen with the wisely titled “Don’t Read The Comments”, where plucked bass leads into playful keys from J.D. Sebastian as Paul Tavenner’s drumming anchors the synth friendly opener, and “Non-Hybrid Seeds” follows with John Magnussen’s vibraphone making an impact on the rhythmic and stylish setting.

Closer to the middle, “I Will See You There” dips into warm jazz territory with Anthony Fesmire’s inviting guitar lines, while “Deor” recruits spoken word between bouts of frisky, sometimes spacey instrumentation. “Green Girl”, one of the album’s best, then benefits greatly from David Johnson’s vibraphone as a highly melodic landscape unfolds with an infectious quality.

The final two tracks are demos of two previous songs, and it’s nice to hear the alternate, more raw versions of “Non-Hybrid Seeds” and “Green Girl”.

A primarily instrumental affair, Lockeretz brings all the precision of his work in Outside Pedestrian to an adventurous spirit on this bright album that’s musically as colorful as its striking cover art.

Travels well with: Jason Kao Hwang- Human Rites Trio; Swingadelic- Bluesville

Zilched

Doompop

Young Heavy Souls, 2020

10/10

Listen to Doompop

Detroit’s Zilched, i.e. Chloe Drallos, grew up on a steady diet of Nirvana and Jesus and Mary Chain, and those influences are certainly at the surface of her curious brand of noise-pop where Nick Russo sits behind the drum kit and Eliot Thomas handles bass.

“Blue Doom” starts the listen with a thick layer of fuzz as galloping percussion invades the noise meets pop elements that are both pretty and abrasive in a goth-friendly sort of way, and “The Knife” follows with quick pace of jangly indie-rock that builds into sonic walls of melodic reverb.

Deeper into the listen, “Velcro Dog” offers a firm post-punk haze amid a dreamy quality, while “The Morning” is a calmer display of clever basslines and gritty rock alongside soaring, echoed vocals. The aptly titled “Dark Side” then bristles with an indeed ominous aspect to its emotive pulse.

The last two tracks are among the best, including the swift drumming of the tense “Sixteen”, where harmonic singing pairs with a furious landscape, and “Teenage Insects” exits with a mix of talking and singing under a melodic sea of tuneful racket.

A debut album about growing up, the turbulence of adolescence certainly lingers in these frustrated anthems that leave it unclear whether you should be banging your head with your thickest flannel on, or writing poetry while listening to Sonic Youth. Either way, every second here is dense, raw, luminous perfection.

Travels well with: Skye Wallace- Skye Wallace; Dilly Dally- Sore

Putumayo

New Orleans Mambo: Cuba To NOLA

Putumayo, 2020

9/10

Listen to New Orleans Mambo

A compilation album that brings together the timeless rhythms of Cuba and the soulful flavoring of New Orleans, the Putumayo label highlights 10 artists here, where their diverse and cultured song craft makes each track a standout.

Poncho Sanchez starts the album with “Going Back To New Orleans”, which illustrates his Latin Jazz roots with plenty of blues nods, too, and Dr. John’s “Mos’ Scocious” follows, where his inimitable swagger highlights the Latin tinted soul rocker.

Near the middle, “Coconut Milk”, by Bo Dollis & The Wild Magnolias, swings and grooves with plenty of playful spirit, while Zazou City’s “Mánanita” bridges Gypsy jazz and Argentinian tango amid keys, sax, trumpet, guitar and congas. The always impressive Nevill Brothers then contribute “Yellow Moon”, a 1989 track that’s full of Caribbean nods in its adventurous nature.

Deeper yet, “Nature Boy”, by Otra, brings instrumental Latinized salsa to the record, and the legendary Preservation Hall Jazz Band exit the listen with “Kreyol”, where inspiration from a trip to Cuba results in their dynamic brass being the perfect finish to the eclectic landscape.

A fine display of Cuban and New Orleans magic, Cuba To NOLA proves yet again how solid the bond between the rich history of both the musical locations is, and likely always will be.

Travels well with: Preservation Hall Jazz Band- St. Peter & 57th St. Dr. John- Gris-Gris

The Pierce Project

Songs For Emi

Self-Released, 2020

8/10

Listen to Songs For Emi

A sibling band (plus their dad) of multi-instrumentalists who play vintage style pop that’s family friendly and not short on vocal harmonies, Florida’s The Pierce Project returns with a sophomore album of varied, familiar sounds with Songs For Emi.

“Hi Emi” starts the album with warm piano balladry as group vocals enter the emotive welcoming of Emi into the world, and “Oh Banana” follows with a playful display of retro-pop as charming lyrics are met with nostalgic melodies.

Elsewhere, the quirky “Vanilla Parfait” is a summery display of timeless songwriting, while “Brainwave Shutdown” recruits frisky drumming where harmonic vocals from the entire family help make this one of the album’s best in a psychedelic sort of way. “Love”, another noteworthy track, then sounds like it could have been birthed in any decade since the ‘60s, as the band’s dynamic chemistry is always at the surface.

Closer the end, “Old Piano” is cautious and pretty and of course features much piano but along with some fantastic guitar work, too, and “No More” exits the listen with soaring vocals in an intimate delivery that channels the spirit of John Lennon.

A band who grew up on classic rock and have probably spun a lot of records by The Beatles and The Beach Boys as well, there’s a lot of fun to be had listening to Songs For Emi, where hooks, melody, rhythm and harmony are all offered in spades.

Travels well with: They Might Be Giants- Idlewild; The Flaming Lips- King’s Mouth Music And Songs

Jiffy Marx

She’s My Witch/Warning Sign 7”

Snappy Little Numbers, 2020

9/10

Listen to She’s My Witch/Warning Sign 7”

An artist from Vancouver, B.C. who also plays in Autogramm, Jiffy Marx fleshed out this first 7” while in Seattle with the Bread & Butter crew, who also play on these two nostalgic tracks.

Side A offers the initially rumbling “She’s My Witch”, that abruptly bursts into melodic, retro spirited garage rock as plenty of power-pop ideas enter the instantly memorable 2 minutes.

Side B is just as glorious and offers the shimmering “Warning Sign”, where glam punk ideas from the early days of genre enter the scrappy yet very tuneful delivery of crisp, playful instrumentation.

An extremely limited 7” of just 300 copies and all on colored wax, you’ll get a download code with it, too, and, most importantly, two fantastic tunes that may remind you of names like Alex Chilton and Pete Shelley, which could never be a bad thing, right?

Travels well with: Autogramm- What R U Waiting 4?; Buzzcocks- The Way

you. Guru

Young Adult Fiction

Antena Krzyku, 2020

8/10

Listen to Young Adult Fiction

A trio from Poland who apparently like to experiment with their creative song craft, you. Guru make great use out of looping, where noise, psychedlia and beats are integral to the unpredictable formula.

“Switch On The Truth” starts the album with playful electronica as plenty of instrumental exploration surrounds the mysterious and often busy setting, and “Pure Nothing” follows with a backdrop of ‘80s post-punk as a dreamy quality enter the firm, hypnotic landscape.

The back half of the listen offers the light and airy “Holy Sand”, that gradually builds into cinematic swells of tension and beauty, while “Acid Dance” buzzes with intricate drumming amid an almost prog-rock execution. “The Secret Way To Reach Ben” exits the listen, and emits a repetitive, droning formula that fades into noisey electronica.

Artur Mackowiak, Michal Lutrzykowski, and Piotr Waliszewski, i.e. you. Guru. cut their teeth in bands like Innercity Ensemble, B.O.K., Something Like Elvis, Tissura Ani, Potty Umbrella and Upside Down, and they bring those experiences to this unconventional and exciting post-rock debut that isn’t easy to classify but is certainly easy to enjoy.

Travels well with: Izzy And The Black Trees- Trust No One; Cosse- Nothing Belongs To Anything

Bushwick Blooze Band

Lonely And Blue

Self-Released, 2020

8/10

Listen to Lonely And Blue

A Brooklyn based trio known for their energetic live show, the Bushwick Blooze Band are in the process of completing their sophomore album, Yes Dear, but didn’t hesitate to offer up this first single from the much anticipated LP.

The 6 minute tune leads with emotive and spirited bluesy guitars from Brother Dave, where his soulful vocals complement the mood well, while Chas Rio and David Cornejo anchor the setting with their precise, cautious bass and drums. A tune with much power and rhythm, a soaring guitar solo closer to the end and the subtle hammond organ help cement “Lonely And Blue” as a perfect example and timeless and classic blues rock.

With the potentiality of live music returning in 2021, let’s hope that these 3 can get back to what they do best, but in the meantime absorbing their recorded output will more than suffice for the unwavering blues fans

Travels well with: Artur Menezes- Fading Away; Heather Newman- Rise From The Flames

Andy Ross

The Fear Engine

Origin, 2020

8/10

Listen to The Fear Engine

The esteemed British producer Andy Ross finds himself in a much different vantage point here as he pens a very unique album that asks just how we might make the world a better place for all. Not so surprisingly, the listen is rooted in Brit-rock from the ‘70s/’80s, as the landscape embraces variations of rock and pop where Ross plays all instruments but saxophone and sings with an inspiring set of pipes.

Ross starts the listen with plenty of atmosphere as soundbites enter the reflective mood where soaring sax from John Helliwell (Supertramp) and soft, smooth singing highlight “Owning The Lie”, and “Somewhere In The Middle” follows with much beauty in its cautious, nearly meditative spirit.

In the actual middle, “The Wishing Well” flows with much emotion as expressive singing aligns with uplifting and melodic instrumentation, while “Star” builds into a gorgeous strummer of glorious, nostalgic, retro-rock. “Where We Are”, another exceptional tune, then moves with a majestic, dynamic quality that even flirts with prog-rock.

“Biko” and “Nature Boy” finish out the listen, where the former offers sublime piano balladry, and the latter recruits ambience and woodwinds into the brass and string friendly climate that exits with a timeless, lush appeal.

A record that is paired with his new documentary of the same name, there certainly is a cinematic theme here with the sounds of waves and other nature-esque moments. This isn’t the first time Ross has dabbled in music as he previously played in the UK outfit Immaculate Fools, and let’s hope it isn’t his last, either.

Travels well with: Marvin Etzioni- What’s The Mood Of The Country Now?; Paul Winter- Light Of The Sun

Sebastien Lacombe

Fly

B-12, 2020

8/10

Listen to Fly

A Canadian singer-songwriter who approaches his craft from a very soulful place, Sebastien Lacombe’s Fly uses bits of country, Americana, folk and pop in his genuine formula, where each song radiates in its own light.

Lacombe starts the listen with the gentle acoustic strumming of “Gold In Your Soul”, as his soft, breathy vocals enter the poetic storytelling where light drums and dreamy guitar set the mood well, and “So You Say” follows with a timeless, warm folk tune that’s certainly not short on beauty.

Close to the middle, “Mr Suicide Man” isn’t as ominous as it the title implies, as a retro quality unfolds with a cautious, rhythmic appeal, while “Every Man Needs Loving” benefits from sparse but effective keys and the pretty female vocals make quite an impression, too. “My Thousand Dollar Car”, one of the best tunes present, then finds itself in mature pop territory, where Lacombe’s distinct vocals really highlight his universally embraceable song craft.

“Rise” and “I Am Who I Am” round out the album, as the former is a fuller display of radio friendly songwriting with much attention to detail, and the latter finishes with an emotive and gritty exit that’s still tuneful in its rawness.

An album about the universal idea of freedom, Lacombe has a history in the theater and is clearly making his mark in his home country as a singer-songwriter. With albums as memorable as this, it won’t be long until he’s globally recognized for his creative vision.

Travels well with: The Respectables- The Power Of Rock’n’Roll; The Trews- Civilianaires

Godsey, Osterfield, Matamoro, Simonson, Cunningham

Dimensions Vol. 3; Works For Large Ensemble

Navona, 2020

8/10

Listen to Dimensions Vol. 3; Works For Large Ensemble

This 3rd installment of the Dimensions series features the work of Michael G. Cunningham, Andre' Godsey, Miguel Matamoro, Paul Osterfield, and Eric Simonson, where large ensembles deliver plenty of power across the exciting, eclectic album.

Andre’ E. Godsey, Sr.’s “Symphony No. 1 In C# Minor” starts the listen with the Janacek Philharmonic Orchestra performing a sublime and often busy execution of sweeping beauty amid plenty of soaring instrumentation, and Paul Osterfield’s “Silver Fantasy” follows with a graceful and sometimes tense delivery from the Moravian Philharmonia Wind & Percussion Ensemble that benefits from Lindsey Goodmen’s intimate flute prowess.

Further on, “Two Pictures” has the Janacek Philharmonic Orchestra returning for their 3rd time on the Eric Simonson composition that dances around Beethoven and Berlioz influences with exceptional precision, while Michael G. Cunningham’s “Symphony No. 7” unfolds across 4 movements as the Moravian Philharmonia Wind & Percussion Ensemble recruits ambience, playfulness and plenty of charm that spans the album highlight.

Much like every release in this series, Dimensions continues with its varied approach where each composer offers their respective talents in spades, which keeps the listener engaged- even enthralled- from beginning to end.

Travels well with: Dimensions Vol. 2; Bill Whitley- Then Elephant Speaks

Knehans-Smaldone

Double Portrait

Ablaze, 2020

9/10

Listen to Double Portrait

The veteran composers Douglas Knehans and Edward Smaldone introduce us to the exceptional young ensemble All Of The Above on this collaboration, where Silk Road Ensemble artist HU Jianbing contributes sheng to the very creative endeavor.

Knehans takes the first 6 tracks, and leads with “Bang”, where a sextet and electronics illuminate the unpredictable, imaginative setting that’s part classical, part modern day electro-rock, and “Temple” follows with Nave Graham’s flute resonating in the intimate and dreamy landscape.

The back half of Knehans’ portion recruits firm piano from Matthew Umphreys and violin acrobatics from Scott Jackson on the energetic "Spinning”, which is sandwiched between the bare “Yearning, Strained, Exhaustedly Expressive” and quivering strings of “Lentissimo-Grave-Moderato-Grave-Lentissimo”, all of which are movements of “Lumen”.

Smaldone starts his half with the tense, playful and often cinematic “Rituals: Sacred And Profane”, while “Suite” unfolds with 3 movements that begin with cathartic violin, before warm keys enter the melancholic climate that further on moves quicker and with plenty of emotion. “Double Duo” exits Smaldone’s contributions, and spans busy and majestic and sparse and mysterious, as he takes nods to the tonality of Perle.

Extremely technical and certainly timeless, this fascinating listen explores chamber, jazz, classical and orchestral sounds like few others could, and is absolutely worth spending quality time with.

Travels well with: Edward Smaldone- Once And Again; Jorma Tapio & Kaski- Aliseen

Slomosa

Slomosa

Apollon, 2020

10/10

Listen to Slomosa

Even though Slomosa reside in Norway, their hard hitting, desert rock approach sounds right at home in much warmer climates as the quartet touch on grunge, punk and metal on this scorching debut.

“Horses” starts the album with a thick presence of thumping drums and fuzzed out guitars as waves of sonic melody surround the firm but tuneful setting, and “Kevin” continues this formula with a stoner rock meets metallic fury of power and precision.

There’s 8 tunes here, and each one is top notch, including the percussively strong “In My Mind’s Desert”, that’s a bit calmer initially but no less impactful as it builds into a hypnotic rocker that’s groove friendly, while “Scavengers” benefits from bouncy basslines as some classic rock spirit invades the bristling atmosphere.

The final two tracks are among the best and include the dynamic “Estonia”, which alternates between charged, noisy rock and moments of gentler, soaring vocals, and “On And Beyond” exits the listen with a bit of mystery as bare moments are met with thundering bouts of visceral energy.

An incredible first effort, Slomosa embrace all the things we love about legends like Melvins, Sleep or Dead Meadow, and it’s packed into a thriving and unpredictable concoction of abrasive meets restrained musicianship.

Travels well with: Kryptograf- Kryptograf; Bismarck- Oneiromancer

The Brazilian Trio

Águas Brasileiras

Zoho, 2020

9/10

Listen to Águas Brasileiras

The Brazilian Trio, i.e. Helio Alves, Nilson Matta and Duduka Da Fonseca, return with their esteemed Brazilian music meet jazz ideas as this 3rd album that is just as impressive as their previous, Grammy nominated work.

“Maucha Na Praia” starts the listen with Alves’ piano acrobatics aligning with Fonseca’s brisk drumming as Matta anchors the lively jazz opener with his deft bass, and “Sampa 67” follows with thick basslines interacting splendidly with the warm keys in the dizzying display of cultured rhythm.

In the middle, ‘Aninha” flows with grace in its sublime balladry with keys being the focus, while “Baden” benefits from frisky bass plucking as the percussion creates ambience amid the classical nods in attendance. “Asa Branca/Baiao”, one of the record’s best, then leads with arco bass as polyrhythms populate the unpredictable landscape that even offers a drum solo.

“Manhattan Style” and “Vila Madalena” bookend the affair, where the former is a quick paced samba that’s on par with the hectic pace of the city it’s named after, and the latter, dedicated to Sao Paulo, where Alves is from, shines bright as the trio work together synergistically with both precision and playfulness.

Certainly leaders in the area of Latin jazz, the 3 artists work together as one soul on this fascinating, spellbinding experience that just might be their best work to date.

Travels well with: Carla Campopiano- Chicago/Buenos Aires Connections Vol. II; Julio Botti- Pure Tango

K. Campbell

Every Little Thing/Pretty Pictures

Poison Moon, 2020

9/10

Listen to Every Little Thing/Pretty Pictures

The Houston artist K. Campbell returns with a couple of new tunes, and just like everything he’s been involved in, it’s a curious variation of pop the embraces punk and indie ideas.

“Every Little Thing” leads and offers Campbell’s soft, expressive vocals as Mandy Kim Clinton provides back up singing in the highly melodic and instantly memorable indie-rock jangler that kind of reminds us of Death Cab For Cutie with a gym membership.

“Pretty Pictures” is equally great, and recruits McCullough Ferguson on Farfisa as the setting is both swift and playful and not without some power-pop spirit in its fluid and harmonic delivery.

Available physically as a limited 7” or cassette with download, much like everything Campbell has released lately, it’s a quick listen, which is really the only complaint I could see anyone lodging, cause every second here is exciting and gripping.

Travels well with: Jay Som- Everybody Works; Pearl Crush- Coax Me Out

Kenny Wayne Shepherd Band

Straight To You Live

Provogue, 2020

9/10

Listen to Straight To You Live

The blues legend Kenny Wayne Shepherd has been quite busy in recent years with several well received studio albums, and here he offers us his first live record in a decade plus his first ever live concert video as part of the package. At his side for the evening in Germany is Noah Hunt (guitar, vocals), Chris Layton (drums), Joe Krown (keys), Scott Nelson (bass), Joe Sublett (sax) and Mark Pender (trumpet).

Shepherd starts the listen with the roaring blues of the anthemic “Woman Like You”, and this energy continues to the indeed soulful “Mr. Soulful”, where pounding percussion and bright brass highlights the explosive climate.

Further into the set, “Diamonds & Gold” is a playful and highly rhythmic display of soaring skill, while “Heat Of The Sun” lands in ballad territory where power and melody meet amid gorgeous guitar work. “Shame, Shame, Shame”, one of the best from the night, then allows the piano to shine on the cautious yet frisky 8+ minutes of flawless blues musicianship.

Shepherd keeps the pulse of the evening steady all the way through, as he delivers the vocally expressive “Blue On Black”, and late in the listen “I’m A King Bee” displays a wild pace of charged guitar, inviting horns, and warm organ alongside the dynamic rhythm section.

An artist whose career has been a string of platinum selling records, Grammy nominations and worldwide fame, if you’re not able to see Shepherd live, this incredible sounding release will work just fine in the meantime.

Travels well with: Joe Bonamassa- Royal Tea; Alastair Greene- The New World Blues

Dizzy Box Nine

Radio Fiction

Trueno, 2020

9/10

Listen to Radio Fiction

A Southern California trio consisting of Randy Ludwig (guitar, bass, vocals), Tony Robles (guitar) and Amos Przekaza (drums), Dizzy Box Nine play the sort of universally accessible rock that sounds like it could have been birthed in any decade since the ‘80s, and will likely be relevant for decades to come, too.

“Show Me Everything That You Are” starts the listen with no shortage of melody as ‘90s rock sensibilities are sprinkled throughout the infectious landscape, and “GPA” follows with a brisk pace of rhythmic and club friendly sounds that are bouncy and a whole lot of fun.

Close to the middle, “20 Seconds” unfolds with a punchy spirit amid some mild punk nods, while “I Feel Alright” recruits chunky guitar and a furious pace that makes it uncertain if you should seek out the nearest mosh pit or dance floor. “Crystal Rae”, one of the standout tunes, then bridges pop and rock together with charming results that you would think would be plastered all over the FM dial.

At the end, “Yeah You” is a quirky and upbeat strummer, and “My Last Day” finishes out the listen on a romantic note with the 3 members interacting playfully and precisely.

An outfit that cite influences as wide as Tom Petty, The Cure and MXPX, there’s literally something for everyone here (even rap on one track), and it’s all executed with energy, melody and lasting power. How these guys aren’t household names is beyond me, cause this easily trumps all the similar bands out there (remember Eve 6?), past and present.

Travels well with: Midnight Shine- James Bay; The Trews- Civilianaires

Various Artists

A Gulf Coast Christmas

Gulf Coast Records, 2020

9/10

Listen to A Gulf Coast Christmas

A label with a reputation for quality music from some of the most flourishing and hardest working artists today, Gulf Coast Records brings us 7 originals and 9 covers on this holiday album where their roster is represented by their heavy hitters as well as rising stars.

Mike Zito starts the album with his first of two songs as his inimitable blues guitar and gritty vocals highlight the soulful “All I Got For Christmas Is The Blues”, and “Somebody Stole My Christmas”, by Albert Castiglia, follows with both power and melody in the restrained rocker.

Further along, the bright brass of “Back Door Santa” showcases Jimmy Carpenter’s knack for timeless melodies, while “It Ain’t Christmas” displays Kat Riggins’ sublime pipes on the organ friendly balladry. “Ring The Bells”, one of the album’s best, then has Diana Rein offering plenty of rhythm as her soaring vocals guide the playful and charming atmosphere.

Deeper still, Thomas Atlas gets funky and frisky on the expressive “Christmas Is Cancelled”, and some of the best singing present resides on “Please Come Home For Christmas”, as Sayer and Joyce offer much beauty on the lush, uplifting gem.

A record that’s plenty diverse, a whole lot of fun, and, of course, quite festive, this is one of the few Christmas albums you play on repeat and not tire of. In fact, you’re likely to find a new favorite track with each subsequent spin.

Travels well with: Albert Castiglia- Wild And Free; Kat Riggins- Cry Out

John Basile

Silent Night

Frequency, 2019

8/10

Listen to Silent Night

The guitar legend John Basile returns with a holiday themed album, where he uses MIDI guitar technology to create textures against ‘live’ jazz guitar improvisation.

“God Rest Ye Merry Gentlemen” starts the listen percussively strong as spirited guitar work from Basile guides the opener, and “Baby It’s Cold Outside” follows with dual guitars that flow eloquently into each other.

In the middle, “Silent Night” brings us a dreamy quality to the traditional, while “Toyland” has the listen getting into bop territory with lively, playful results.

Closer to the end, “Christmas Time Is Here” adds some Latin rhythm into the classic tune, and “Auld Lang Syne” exits the listen with some of the most timeless guitar work present, as Basile really displays his unparalleled talent.

Basile pulls off a varied experience here, where mood, rhythm and tempo are constantly changing in his innovative layering technique. An ideal listen for jazz fans in the holiday spirit, Silent Night yields a festive setting in a very original delivery.

Travels well with: Dave Stryker- Eight Track Christmas; Ray Blue- Work

Sundae Crush

A Real Sensation

Donut Sounds, 2020

8/10

Listen to A Real Sensation

A Seattle outfit spearheaded by vocalist and multi-instrumentalist Jena Pyle, the Texas native uses her art in therapeutic ways- even dedicating this album to her therapist- as Sundae Crush weave in and out of a unique brand of colorful bedroom pop.

The album starts with the bare, dark mood of “Kiss 2 Death”, where whistling and a desolate guitar gradually add wordless vocals, and this ominous opening then bursts into the jangly indie-pop of the summery strumming of “Long Way Back”, where vocals are both melodic and firm.

An album where each tune offers new surprises, “Green Lake” points towards the early days of proto-punk, where ebbs of soft beauty align with raw drumming and soulful saxophone from Adrienne Kerr, while “La La” is brief display of avant-garde pop that’s as playful as it is experimental and even brings in a flute from Pyle. “Sensation”, one of the album’s best, then moves swiftly with a garage rock spirit as the scrappy music suits the harmonic singing splendidly.

As we get near the end, “What Do I Need?” is a softer moment of pretty indie-pop, and the initially dreamy “Dudes Being Guys” finishes the listen and shifts into a quick, punky tune before transforming into a blurry synth-rock exit that will bring you back to the mid ‘80s.

An aptly titled first album, Pyle and company make a hefty impression here, with their kind of quirky and very nostalgic brand of song craft that’s as likely to bring to mind The Velvet Underground just as it is Bratmobile, and I don’t think anyone is going to have a problem with that.

Travels well with: Lizzy Young- Coocoo Banana- VvvV- The Wreck