Stash

Walk The Walk

Self-Released, 2021

8/10

Listen to Walk The Walk

An all star trio that consists of Ted Russell Kamp, Joey Peters and Rich McCulley, as Stash the 3 pen songs about love, life, surviving, learning and pain, and it’s all wrapped up in a rootsy and Americana package.

“Smoke And Mirrors” starts the listen with a warm thumping and twangy banjo as Kamp’s rugged yet tuneful pipes guide the soulful rock, and “Catch Me If You Can” follows with McCulley’s firm electric guitar and Peters’ fluid drumming adding much melody to the retro-rock climate.

Approaching the middle, “Into The Sunset” recruits pretty mandolin and Kamp’s poetic delivery in the folk influenced setting, while “One Track Mind” picks up the pace with a driving classic rocker that immediately warrants a sing-along. “Talk The Talk” then brings in Anna Maria Rosales on harmony vocals, where bright horns give this tune an extra boost of playfulness.

“What I Need” arrives near the end and bounces and shakes with both grit and melody that you could dance to, and “Hey, Hey, Hey” exits the listen with jumpy keys and a frisky spirit that shakes and shuffles with much charm.

This first album as Stash brings a wealth of melodies, grooves and twang to the raw landscape, and the heartfelt and thoughtful songwriting certainly won’t go unnoticed either, as the esteemed players bring their respective talents to a damn fine record.

Travels well with: Ted Russell Kamp- Solitaire; Alastair Greene- The New World Blues

Alyssa Pyper

Salt Crust

Song Club, 2021

9/10

Listen to Salt Crust

The debut album from the Utah songstress Alyssa Pyper, Salt Crust is a thematically very substantial listen from a former Mormon that allows her background in violin to be manipulated with a loop pedal that helps create a very unique version of folk music.

“Life, Again” starts the listen with Pyper’s soft, expressive vocals layered against some subtle atmosphere, and this segues into the hypnotic strings and precise drumming of the mesmerizing “Bleeding Green”.

At the halfway point, “Rose And Stone” benefits from a light buzzing alongside the intricate strings as alt-rock meets classical ideas, while “Ruin-ate” moves with an emotive spirit that’s instrumental and displays incredible string manipulation. “Feeling”, one of the album’s best, then showcases a bare beauty where Pyper’s eloquent singing is met with carefully plucked strings.

Moving towards the end, “In The Water” flows with a dreamy quality that illustrates profound attention to detail, and “Prayer” exits the listen with the sublime strings fading out with much intrigue.

Leaving Mormonism is a complicated and daring act, and it has absolutely inspired Pyper’s artistic vision. A first record that’s just as impactful lyrically as it is musically, the cautious textures present were clearly pored over and each word dissected to the nth degree, making Salt Crust a listen worthy of many visits.

Travels well with: Emily Brown- A Fish Of Earth; Malin Pettersen- Wildhorse

James Gilmore

Decorating Time

Ears And Eyes, 2021

9/10

Listen to Decorating Time

The North Carolina guitarist and composer James Gilmore brings along Butler Knowles and Kassem Williams for this guitar fueled jazz and blues adventure that offers us 9 originals and 1 very creative cover.

The title track occupies the lead off spot, and brings intricate, bluesy guitar into Williams’ very skilled drumming as a very spirited version of jazz is cultivated, and “Ding, Dong” follows with bouncy, playful bass lines from Knowles complementing the tumbling drums and animated guitar that bops fluidly.

The remainder of the album is equally well thought out, and includes the charming progression of “Stairs I”, that’s as hypnotic as it is memorable, while “The Soul Is A Lattice” builds into a dynamic and fascinating display of firm and adventurous song craft.

Arriving near the end, “Vulture And Cockroach” has the trio interacting with incredible precision that yields flowing melodies amid much grace, and Willie Nelson’s “Crazy” exits the listen with a unique ambience, where the bare beauty glows amid a stylish and innovative interpretation that gets a bit haunting, too.

An album rich in its vision and executed with avant-garde moments and plenty of innovative jazz exploration, Gilmore, Butler and Knowles possess a rare chemistry, and the energy that spawns from it is undeniably infectious.

Travels well with: Lauren Lee- Queen Of Cups; Noa Fort- Everyday Actions

Susan Krebs With Mixed Remotions

Daybreak

GreenGig, 2021

8/10

Listen to Daybreak

The stunning jazz vocalist Susan Krebs recorded this 8th album during the pandemic, after struggling with the isolation of the new norm, and an inherent desire to be creative during a time when it was being stifled. In order to do it safely, she did the bulk of the work remote, and then booked a single fully vaxxed in studio session to flesh out the 7 very well thought out tracks.

“Can’t Get Out Of This Mood” starts with Krebs’ bare vocals before Domenic Gennova’s playful bass and Scott Breadman’s subtle percussion enters the timeless jazz climate that welcomes woodwinds from Rob Lockart, and “Daybreak” follows with soothing vibraphone thanks to Jerry Kalaf, as the dreamy setting displays agile piano from Rich Eames alongside the poetic vocals from Krebs.

In the middle, “Inside A Silent Tear” recruits Doug Walter on woodwinds, as much beauty surrounds the ballad friendly delivery, while “Who Knows Where The Time Goes?” benefits from soulful brass amid the intimate and warm album highlight that does justice to the Sandy Denny original.

“Listen Here” and “Stardust” exit the listen, where the former is rich with cautious and stirring song craft, and the latter finishes on an adventurous and groove filled display of spirited jazz that will always be appreciated.

In addition to the previously mentioned musicians, Riner Scivally plays guitar on the record, and with 3 arrangers present (Kalaf, Walker and Eames), focusing on making Daybreak was essentially the therapy that Krebs needed to get her through the darkest times of the pandemic, and it makes for a delightful and accomplished addition to her glowing body of work.

Travels well with: Roseanna Vitro- Sing A Song Of Bird; Cathy Segal-Garcia- Social Anthems Volume 1

The Georgia Thunderbolts

Can We Get A Witness

Mascot, 2021

9/10

Listen to Can We Get A Witness

The southern rockers The Georgia Thunderbolts are back with a debut album, and they extend off the greatness of their recent EP with a handful of classic and hard rock inspired tracks that might just remind you of legends like Merle Haggard, Neil Young or even Lynyrd Skynyrd, but with an updated approach.

“Take It Slow” starts the listen with a thumping and thick version of southern rock that’s got plenty of grit and melody in its bluesy appeal, and “Lend A Hand” follows with spirited guitar work and crashing percussion as expressive singing from TJ Lyle guides the hard rock setting.

Further on, “Spirit Of A Workin’ Man” blends soaring guitar and agile drumming into a rugged yet tuneful climate, while Midnight Rider” embraces the band’s love of classic rock, where intricate guitar solos and an impressive range from Lyle are explored. “Half Glass Woman”, another exceptional track, the showcases soulful harmonica amid the sturdy rhythm section of Zach Everett and Bristol Perry amid the stunning vocal acrobatics.

At the end, “It’s Alright” and “Set Me Free” continue the strong songwriting, where the former chugs with a groove filled energy, and the latter nearly channels a Chris Cornell like power as very graceful music flows with precision and control.

Although they’re still a relatively new band, The Georgia Thunderbolts play like seasoned vets, and each song here is packed full of muscular riffs, a meticulous rhythm section and a dynamic energy that makes for a very impressive first LP.

Travels well with: The Allman Betts Band- Down To The River; Too Slim And The Taildraggers- The Remedy

John Denicola

She Said

Omad, 2021

8/10

Listen to She Said

The songwriter and mulit-instrumentalist John DeNicola has enjoyed a 5 decade career in the music industry, but this is actually only his sophomore album. Turns out, he’s spent most of his time on the producing side and penning tunes for others, such as the ‘80s classics “(I’ve Had) The Time Of My Life” and “Hungry Eyes”, both of which were smash hits from the soundtrack of Dirty Dancing.

Armed with musicians like Zonder Kennedy, Chris Ryan and Blake Fleming, among many more, DeNicola brings us 8 originals and a pair of covers here, where is lengthy experience and vast talent covers a lot of ground.

DeNicola starts the listen with the shimmering and dreamy ‘80s quality of the title track, where elegance and melody are met with a soft falsetto, and “Love Devine” continues with Patti Maloney’s soothing backing vocals complementing the warm synth and strategic keys from DeNicola, as the climate soars with much beauty.

Further into the listen, the well timed bagpipes from Brad Davidson and agile drumming thanks to Blake Fleming make “Morning Dew” a diverse rocker that gets a bit more firm, while “Breathe Deep” swirls with a playful beat and hazy synth lines that are met with programmed vocals. “Battered Cloth”, one of the record’s best, then benefits from a mellotron, harmonium, tanpura, and, of course, DeNicola’s expressive singing amid the poetic landscape.

“Can’t Find My Way Home” arrives near the end and does justice to the Blind Faith tune with much grace and rhythm, as Vinny Jessel handles piano and Jake DeNicola holds down drums, and “Sky” exits the listen with DeNicola playing all instruments in a folk influenced finish.

DeNicola Is a rare artist in that he’s excelled in so many areas in the industry, and these solo albums later in life only further cement his unique and timeless contributions to the history of pop music, while illustrating his eclectic vision.

Travels well with: Tod Lippy- Yearbook; Timber- The Family

Union Of Knives

Endless From The Start

Three Hands, 2021

8/10

Listen to Endless From The Start

The Scottish trio Union Of Knives aren’t exactly easy to categorize, but their distinct brand of rock certainly touches on post-punk, goth, electro-pop and even trip-hop, and these 11 tracks offer dark textures as well as universally palatable rhythm that you can’t help but admire.

“There’s A River” starts the listen with plenty of atmosphere as a slight buzzing and a firm beat meet a post-punk haze that enters the electronic climate, and “High On Account Of O” follows with a soulful quality entering the playful layers that are certainly danceable.

Approaching the middle, “An Animal” moves with an industrial feel as repetition is used strategically amid the ominous energy, while “Like Butterflies” recruits a charming pop quality alongside the rhythmic delivery. “Whispering On The Curves”, one of the album’s best, then brings alt-rock and dream-pop ideas into the absorbing landscape that even touches on orchestral ideas.

Further down the line, “Minneapolis” benefits from Anthony Thomaz’s smooth vocals, ambient synth and agile drumming from Peter Kelly, and “Close” exits the listen with a busy electronic-rock foundation that balances a pulsating beat, spacey sounds and swirling melodies thanks to Chris Gordon’s guitar.

If you’re like me, you’ll wonder why you had never heard of Union Of Knives after spending time with Endless From The Start. Turns out, they’ve been on a 14 year hiatus following their 2006 debut, but let’s hope they’re willing to stick around this time, cause their inimitable formula deserves to be spread out over many more releases.

Travels well with: Slow Down Molasses- Minor Deaths; The Holy- Mono Freedom

Nicki Roman

Unquiet Waters

Ravello, 2021

8/10

Listen to Unquiet Waters

The versatile saxophonist Nicki Roman takes up company with the pianist Casey Dierlam Tse here, and together they interpret the works of Kevin Day, Leonard Bernstein, Olivia Kieffer, Lucie Robert, Bruno Mantovani and Edvard Grieg, as the wide scope of the saxophone is explored in the pair’s very capable hands.

The title track starts the listen with swift alto sax and frisky keys interacting in playful and exciting ways that flow with an unpredictable and cinematic feel, and Bernstein’s “Sonata For Clarinet And Piano” follows with a cautious, gentle approach that also brings jumpy and bright synergy between the two instruments.

Halfway through, “Floating Bones” is solo alto sax, where the brass manipulation is both swift and intricate, as well as hypnotic and reserved, while “Cadenza” rumbles with bare beauty but is also likely to pair the keys and sax in dynamic swells of frisky co-mingling.

“Lyric Pieces, No. 6 Wedding Day At The Troldhaugen” finishes the listen on an upbeat and glorious selection, where Roman handles soprano saxophone and the setting builds into a quick, firm and commanding exit.

Roman is a member of the award winning outfit Fuego Quartet, and she takes that experience and her immense talent and brings it to these very diverse pieces and illustrate the vast tone and range of her instrument.

Travels well with: Evan Mack- The Travelled Road; Stuart Weber- Pieces Of Road

Doc Carter

High Tide For Low Times

Blowing Sand, 2021

9/10

Listen to High Tide For Low Times

Although this is the debut album from the Corpus Christi songwriter Doc Carter, it sure doesn’t seem like it as he covers multiple genres with an agile and sonically engaging delivery that thematically surrounds love, travel, self-realization and social observations.

“Heading West” gets things off to a playful start as warm harmonica, soothing guitar and crisp drumming complement the expressive storytelling, and “Taking It Easy” follows with intricate guitar lines and moody keys that welcome pop and rock ideas into the charming folk sounds.

Though there’s not a dud to be found across the 14 tracks, the middle ones are among the best, and include the melodic and breezy “Vica Cana”, as well as the upbeat and rhythmic “Open Your Mind”, which will get you heading right to the dance floor. “Wrapped Around You”, perhaps the best of the best, then benefits from well timed organ and meticulous guitar work that flows around the bluesy atmosphere.

“Sunshine” lands near the end, and places warm piano amid proficient drumming and gentle guitar unfolding in the cozy Americana landscape that points towards the ‘60s, and “Tomorrow” exits the listen with meticulous finger picking that’s musically engaging and lyrically touches on life following the pandemic, which might just be the most topical song of the year.

Carter is joined by Jeremy Long (keys, dobro, pedal steel), David Leach (percussion), and Matt Grundy (everything else), and together they illuminate the timeless originals that blend blues, country, folk, Americana and rock’n’roll into one of the best debuts in recent history.

Travels well with: Nathan Bell- Red, White And American Blues; Matt Eckstine- Lil’ Blue

Nathan Bell

Red, White And American Blues

Need To Know, 2021

9/10

Listen to Red, White And American Blues

The singer-songwriter and multi-instrumentalist Nathan Bell certainly knows his way around a diverse listen, where roots rock, jazz, folk and even swampy sounds are present, as he’s joined by Frank Swart, Alvino Bennett, and John Deaderick, plus some special guests we’re all in awe of.

“Angola Prison” starts the listen with incredible guitar playing that welcomes Bell’s rugged vocals into a timeless version of folk rock that embraces soulful harmonica, and “American Gun” follows with Patty Griffin in attendance, and her inimitable singing complements Bell’s storytelling in the piano friendly setting.

Deeper into the listen, Griffin returns on the emotive and gentle “A Lucky Man”, where strategic drumming and soft guitar are met with the pair’s eloquent singing, while “Mossberg Blues” recruits Regina McCrary into the fuller delivery that emits an energetic bluesy swagger. “Running On The Razor”, another exceptional tune, then benefits from Aubrie Sellers, as darker themed spoken word and thumping drums complement Sellers’ soaring pipes.

Approaching the end, Griffin is back on the dreamy “To Each Of Us (a shadow)”, where a poetic landscape unfolds with acoustic guitar and the duo’s ebullient singing which possesses so much beauty, and “Folding Money (you better move along)” exits the listen with a nearly gospel angel that’s rhythmic and quite captivating.

Red, White And American Blues was actually recorded in 2019, but delayed for release due to the pandemic. Penned during a tumultuous time for America, the subject matter is just relevant now as it was then, and Bell’s soundtrack for a shattered country makes for an absorbing version of Americana that you’ll be immediately drawn to.

Travels well with: Michelle And Jason Hannan- Cheater’s Waltz; Matt Eckstine- Lil’ Blue

Rigby Summer

Geography

Self-Released, 2021

9/10

Listen to Geography

This first album from the Oklahoma songstress Rigby Summer finds the artist looking back on pivotal moments of her life and the places that she’s traveled, and she delivers her songs with much forthrightness, an incredible amount of sincerity, and a timelessness that resonates on an admirable emotional level.

The very dreamy “The Weight (Unrequited)” starts the listen with twinkling guitar that welcomes Summer’s poetic and warm vocals, and this formula continues to the breezy melodies of the stirring “Hold On”, as well as the bluegrass influenced “Kentucky”, where playful strings align with the diverse singing.

In the middle, “Delaware, California” showcases Summer’s stunning pipes in a bare, sublime setting, while “Rearview Mirror” recruits graceful piano for the soaring balladry that’s full of eloquent storytelling.

Speaking of pianos, “Buy Me A Piano” arrives late in the disc, but actually benefits from folksy strumming as glowing pedal steel complements the mesmerizing album highlight, and “Gibson Guitar” exits the listen with a very pretty version of Americana that allows Summer’s powerful songwriting to illuminate the charming love song.

Even though this is Summer’s debut, she’s been writing music for 15 years, and there were 30 songs in contention for Geography. Seeing as how every track here is nothing short of gripping, let’s hope those outtakes surface on future recordings.

Travels well with: Riddy Arman- Riddy Arman; Josie Bello- Have Purpose Live Long

JW Francis

Wanderkid

Sunday Best, 2021

9/10

Listen to Wanderkid

Even though he was born in the midwest and raised in Europe, JW Francis plays music that sounds like his current New York City home, and this sophomore album show traces of The Velvet Underground running through his quirky guitar pop.

“John, Take Me With You” starts the listen with intricate guitar work and thumping drums as a charming, jangly form of indie-rock unfolds with warmth and melody, and “I Love You” follows with an infectious lo-fi approach that uses repetition strategically, not too mention carefully layered synth.

Further into the listen, “Only With You” presents a dreamy landscape of playful bass lines and inviting bedroom-pop that’s not short on vocal harmonies, while “WANDERKID” moves swiftly and amid a curious energy that illustrates timeless songwriting prowess. “Don’t Fall Apart”, the album highlight, then brings a cautious, soulful spirit to the creative tension.

“I’m Probably A Ghost” lands late in the disc, and emits a bouncy, spacey feel that channels the ‘80s alongside a solid beat, and “Cars” exits the listen with much intimacy, as soothing female vocals accompany the gentle and poetic finish.

An artist whose version of pop is never predictable and touches on punk, surf, garage and indie-rock, JW Francis possesses a wealth of talent, and his song craft parallels the greatness of some of the best work on the Polyvinyl label, which is no easy feat.

Travels well with: Science Is Fiction- Don’t Everybody Thank Me At Once; Corvair- Corvair

Gregory W. Brown

Fall And Decline

Navona, 2021

8/10

Listen to Fall And Decline

The composing skills of Gregory Brown are put to good use here, as he enlists the voices of the Variant 6 as well as meticulous electronics to tell stories about just how virtuous humanity can get, but also how it can all come tumbling down.

“But After Six Years” starts the listen with the poetic and expressive vocals dancing around each other with grace and playfulness as bare but impactful percussive sounds add even more allure, and “The Wine Of Life” follows with an impressive range, where the voices harmonize with incredible fluidity and warmth.

“After The President’s Speech You Dream Of Corpses” lands in the middle and benefits from atmospheric electronics amid the precise singing to make for a very unique track, while “As Orchards Bloom Again” is a brief but impactful 2 minutes of sublime beauty.

“Sixty Phantoms Of Kings” exits the listen and offers a subtle droning amid eloquent singing that meshes spellbinding vocals with creative electronics.

The 6 voices on hand embrace choral moments and electronic climates that range from sparse to firm, and under Brown’s vision it makes for a very relevant and timeless affair that takes an insightful peek into humanity’s shifting trajectory.

Travels well with: Brian Field- Vocal Works; Voces8- Infinity

Brian Field

Vocal Works

Navona, 2021

8/10

Listen to Vocal Works

The composer Brian Field has been involved with much diverse work in his exceptional career, including ballet and television and about everything in between, and here he focuses on the voice, and uses 6 pieces to illustrate his eclectic vision, and he even contributes text on a couple of the selections.

“By And By” starts the listen with incredible harmonizing between the many voices from the Budapest Chorus as text by Charles Albert Tindley makes an indelible impression, and the strong performances continue to the mysterious and dynamic “Tres Canciones de Amor”, which benefits much from Yanis Benabdallah’s soaring tenor.

Elsewhere, “Let’s Build A Wall (An American Satire)” showcases divine string work from the Hungarian Symphony Orchestra Chamber Players as Zoli Mujahid’s expressive tenor helps make this the album’s best, while “Sephardic Lullaby” displays Orsi Sapszon’s soprano prowess alongside the Hungarian Symphony Orchestra’s dreamy interaction.

The final two tracks bring us the emotive and soothing voices of the Budapest Chorus, and “Chimneys, sonnets-realities” exits the listen with Veronica Tomanek’s unpredictable piano work and Edward Whalen’s baritone making for an engaging, theatric execution.

A highly enjoyable effort that touches on jazz, classical, chamber and orchestral ideas, Field’s strong attention to detail and richly textured vision make for gripping body of work from an ultra creative mind.

Travels well with: Various Artists- Polarities Vol. 2; Voces8- Infinity

Friends Of Cesar Romero

War Party Favors

Snappy Little Numbers, 2021

9/10

Listen to War Party Favors

A long running outfit spearheaded by J. Waylon Porcupine, Friends Of Cesar Romero are definitely a punk band in some capacity, but certainly not in the typical sense, and the 2-3 minute tunes here are never short on hooks, melodies and charming riffs.

The title track starts the listen with a thumping version of garage rock that’s full of sturdy guitar and well timed backing vocals from Ella Sugar, and “The Lonely Popular Girl” follows with plenty of pop friendly melodies and some ‘80s New Wave energy, too.

Further down the line, “Mixed Signals” brings both pop-punk and indie-rock into the gritty yet tuneful delivery, while “Blank Valentine” embraces a retro power-pop spirit to benefit the scrappy album highlight. “Thinkin’ Bout’ Leavin’” then channels the girl group nostalgia of the ‘60s and is quite bouncy amid the infectious demeanor.

Deeper yet, “Lucy’s On Mohawk” buzzes with a head bobbin’ and toe tappin’ appeal that might make you dig out your Ramones records, and “Eyes As Blue As Angels” builds into a more pop-rock landscape that wouldn’t be out of place on the FM dial in the mid ‘90s.

It’s pretty surprising that after 11 albums Friends Of Cesar Romero are still pretty obscure, cause this is some fantastic punk, garage and pop that you’ll play repeatedly and never tire of.

Travels well with: Spells- Stimulants & Sedatives; Greg Antista And The Lonely Streets- Under The Neon Heat

Banjolectric

In The Center

Self-Released, 2021

9/10

Listen to In The Center

We’ve all heard plenty of banjo-friendly tunes across many different genres, but the Portland, Oregon artist Gregory Mulkern is on a path entirely his own, and as Banjolectric he makes every sound on this worldly version of indie-folk with a 5-string banjo and occasional help from some friends.

“Everything I Need” gets the listen off to a unique version of Americana, where precise banjo and vocal harmonies unfold with a cautious and warm delivery, and “How We Get Through” follows with intricate banjo prowess alongside sublime vocal layering that actually takes influence from the ska of The Specials.

The middle tracks offer us the upbeat and stylish “My Eyes”, where a curious brand of folk and soul is present in the timeless love song, while “افترقنا / To Be Alive” recruits Hana Thaalbi on vocals and Paul Evansmith handling digital instruments as a more dramatic landscape benefits from the eclectic ideas.

Near the end, “Lion’s Den” welcomes Leslie Miller’s clarinet into the quirky world pop tune that’s actually one of Mulkern’s first songs, and “Silence” exits the listen with expressive storytelling weaving in and out of firm, cinematic moments that are as mesmerizing as they are creative.

Banjolectric have already touched on funk, Latin and R&B, and here they find plenty of grooves while swinging playfully and even flirt with grunge, as Mulkern is essentially forging a new variation of Americana that you can’t help but admire.

Travels well with: Elder Jack Ward- Already Made; Quiet Marauder- The Gift

Dave Cope And The Sass

Pied Piper

Self-Released, 2021

8/10

Listen to Pied Piper

Dave Cope is a man with many talents, and on this sophomore album he handles vocals, guitar, drum programming, percussion, strings, keys, midi instruments and even bass. Penned mostly during quarantine and recorded at his home, thematically Pied Piper surrounds the current political state, social strife and even romance as Cope and company create a very atypical version of folk sounds.

Cope starts the listen with the warm and poetic folk-fueled title track, where his sincere singing aligns well with the acoustic guitar in a tune about conspiracy theories, and “Jerusalem Jerusalem” follows with Cope hitting some high notes alongside a bare, dreamy climate that tips it hat to the James Carroll book of the same name.

Nearing the middle, “Ways Of Love” brings sparse but impactful percussion into the ballad delivery, while “Come One Of These Mornings” flirts with blues ideas as Ron Sunshine lends his harmonica talent to the rootsy flavor. “The Great Theatre Of The World” then offers one of the fullest tunes, where elegant strings enter a very diverse landscape in a song that was originally written for a play that was called off due to the pandemic.

“To A Dreamer”, an old tune that Cope put a fresh layer of paint on, arrives near the end and sounds right at home in the ‘70s folk scene, and the reprise version of “Pied Piper” exit the listen with Cope’s playful strumming and comforting pipes mixing well together.

Often taking hints at music from much earlier decades, Pied Piper still sounds very much like a modern folk album, both lyrically and musically, and the subtle moments of psychedelia, pop and rock make him yet another outstanding musician from Philadelphia that we all should be spending plenty of time with.

Travels well with: Jesse Malin- Outsiders; Alex Chilton And Hi Rhythm Section- Boogie Shoes: Live On Beale Street

Adolphus Hailstork

Songs Of Love And Justice

Albany, 2021

8/10

Listen to Songs Of Love And Justice

The composer Adophus Hailstork has always had an inclination toward singing, which goes back to his time in a choir as a child, and here Louise Toppin provides her inestimable pipes and John O’Brien brings his piano prowess to compositions that go back to 1959.

The title track starts the listen with soaring, expressive singing alongside the intricate and dreamy strings from the Prague Radio Symphony Orchestra, and “Preach The Word (Cycle)” follows with O’Brien’s warm piano alongside the emotive pipes.

In the middle, “Song (For Sandra Fox)” illustrates Toppins’ diverse range as much intimacy is explored, while “A Charm At Parting” moves with a profound grace that pairs the sublime keys with gorgeous vocal work. “Tell Me Trees What Are You Whispering?”, the album’s best, then flows with bare beauty as well as more firm moments of agile piano leave the listener hanging on every note.

The trees theme continues with “Loveliest Of Trees”, where intricate harp playing by Lydia Cleaver complements the bright singing, and “Sunset And Night” meshes Toppins’ soprano and O’Brien’s proficient piano playing with a timeless and accomplished execution.

The first installment in a series, Toppin and O’Brien, along with the Prague Radio Symphony Orchestra and the conductor Julius P. Williams, make for a very alluring 65 minutes, as they certainly do justice to Hailstork’s exceptional work.

Travels well with: Stephen Yip- Quietude; Matthew Schreibeis- Sandburg Songs

Jon Patrick Walker

The Rented Tuxedo & Other Songs

Walksly, 2021

9/10

Listen to The Rented Tuxedo & Other Songs

Jon Patrick Walker has been releasing music for almost a decade now, and he’s quickly making quite a name for himself as a very atypical folk artist, as evidenced by these very unique 9 originals recorded in Nashville that might just remind you of Bowie, Springsteen and The Fab Four.

“Auto-Tune My Love” starts the listen with a very retro sort of twang as Walker’s smooth pipes guide the rural melodies that benefit from steel guitar, and “The Stars, The Moon & The Sun” follows with aching pedal steel complementing the expressive singing and frisky drumming.

Elsewhere, “All-Night Diner” welcomes warm acoustic strumming amid the graceful piano and strong attention to atmosphere amid the dramatic climate, while “Blackwater Street” enters folk and blues areas that benefit from a mysterious quality that’s even a bit haunting, too.

“Station Wagon” emits nostalgic pop near the end, which brings us back to the ‘60s in all the best ways, and “Love To You” exits the listen with some psychedelia nods present alongside the cozy melodies and clever song craft.

A fascinating album where each track differs from the previous one, though Walker makes his living as a TV, film and Broadway actor, with consistently interesting releases like this, it wouldn’t surprise me at all if songwriting becomes his full time gig, cause one spin of The Rented Tuxedo & Other Songs quickly becomes a dozen, and then you’ll find yourself exploring his back catalog…

Travels well with: Jake Winstrom- Circles; Oberon Rose- Holographic Blues

The Building

Petra

Concord, 2019

8/10

Listen to Petra

The solo project of Anthony LaMarca, who might be better known as the guitarist for The War On Drugs, as The Building the multi-instrumentalist pens cathartic and moving tunes as he fights cancer, often writing songs during treatment.

“Transformed” gets the listen off to an atmospheric start with hazy, ambient texturing and brief, poetic singing, and “All Things New” follows with acoustic strumming alongside LaMarca’s smooth, expressive pipes as keys complement the setting.

Elsewhere, “Warning” offers gentle percussion on the reserved and elegant tune, while “When I Think Of You” shuffles feedback around before settling into a singer-songwriter delivery that soars with higher notes as LaMarca explores his falsetto.

Deeper cuts bring us “Never Was Alone”, which is one of the prettiest tunes, and “Peace’s Eternal Truth Renews All” exits the listen bare and intimate, emphasizing the rawness and care that LaMarca put into every selection here.

An album named after both his German Shepherd as well as being an acronym for the last track, LaMarca takes help from his brother and wife on guitar and cello, and the result is an extremely thoughtful, eloquent and forthright peek into one of the most creative minds in today’s indie-rock scene.

Travels well with: Owen- Ghost Town; Leonard Cohen- You Want It Darker