Mark Zaleski Band

Our Time: Reimagining Dave Brubeck

Origin, 2021

8/10

Listen Our Time: Reimagining Dave Brubeck

The saxophonist Mark Zaleski pays homage to his mentor, Dave Brubeck, across these 7 tracks, where Jon Bean, Mark Cocheo, Danny Weller, Oscar Suchanek, Michael Mayo, and his brother, Glenn Zaleski, put a modern twist on old songs.

“Blue Rondo á la Turk” leads the listen with a very unique, rhythmic delivery that’s quite smooth and stylish, and displays quivering sax prowess alongside Weller’s bouncy bass and Glenn Zaleski’s key acrobatics, and “The Duke” continues the creativity with a soulful and warm spirit that’s even romantic in nature and offers some excellent solos.

Halfway through, “Softly, William, Softly” is indeed a gentle 8 minutes of sublime brass, keys and guitar that hints at the blues, while “They Say I Look Like God” recruits Michael Mayo on vocals for the poetic soft-rock meets jazz that embraces a haunting quality, too.

“The Golden Horn” and “Fujiyama” exit the listen, where the former moves swiftly, as Suchanek’s playful drumming complements the firm tenor sax from Bean, and the latter finishes in balladry, where the only tune not altered from its original state flows with an immense amount of beauty.

Both of the Zaleski brothers were students of Brubeck, and they do his legacy proud here with a handful of melodies, grooves, and swinging moments that will hopefully expose others to Brubeck’s interesting time signatures and his unparalleled manipulation of tone, meter and rhythm.

Travels well with: Steve Million- What I Meant To Say; Jared Hall- Seen On The Scene

Cathy Segal-Garcia

Social Anthems Volume 1

Origin, 2021

8/10

Listen to Social Anthems Volume 1

The Los Angeles vocalist Cathy Segal-Garcia brings us back to songs from the ‘60s and ‘70s here, where the strong lyrical content suits the many problems we are dealing with in today’s society, and she’s got Anthony Wilson, Josh Nelson, Lorca Hart, Edwin Livingston, Paul Jost and Mon David to help her on the aptly titled album.

“For What It’s Worth”, by Stephen Stills, starts the listen with soft piano and warm guitar as Segal-Garcia’s expressive pipes enter alongside Livingston’s plucked bass in the soulful opener, and “What Are We Gonna Do”, the sole original tune, follows with a folk-influenced delivery that unfolds with much beauty and emotion as Segal-Garcia’s diverse pipes are nothing short of impressive.

“And So It Goes” lands in the middle and recruits Jost on harmonica and vocals as spoken word enters the poetic and bare climate of the Billy Joel song, while “Down To Earth” showcases a busier, energetic version of soulful, even gospel territory that does the Peter Gabriel classic justice.

Arriving at the end, Steve Winwood’s “Get Together/Can’t Find My Way Home” emits much beauty in its soft, stirring delivery, and “Save The Children” exits the listen with Mon David’s vocals alongside Segal-Garcia’s in the dreamy, somewhat jam style Marvin Gaye interpretation.

This is Segal-Garcia’s 14th album as leader, and it couldn’t come at a better time, as she offers a semblance of better days to come, where her artistic approach transforms non-jazz songs in her inimitable, charming vision.

Travels well with: Tanya Dennis- White Sails Blue Skies; Jacqui Naylor- The Long Game

Alon Farber Hagiga

Reflecting On Freedom

Origin, 2021

8/10

Listen to Reflecting On Freedom

The soprano and alto sax extraordinaire Alon Farber is joined by Yehonatan Cohen (tenor sax, flute and clarinet), Oded Meir (trombone), Eden Giat (piano), Assaf Hakimi (bass) and Roy Olie (Drums), as well as a couple of special guests, as they flesh out a very diverse version of jazz that pulls from Latin and middle eastern ideas.

“Israeli Song” starts the listen with Sarai Zak-Levi’s gorgeous, wordless singing that is met with Giat’s warm keys and Rony Iwryn’s playful percussion in the cultured jazz climate, and “Reflecting On Freedom” follows with Hakimi’s infectious bass work alongside bright brass as plenty of melody enters the swinging landscape.

In the middle, “Ima (Mother)” benefits from Cohen’s dreamy flute as an initially calm setting that builds into a lush, fusion delivery, while “Fresh Start” bounces and shakes with a modern jazz spirit that will be sure to get your body moving to the fascinating sax acrobatics from Farber. “You’ll See The Way” then brings Zak-Levi and Iwryn back for the rhythmic album highlight that’s poetic amid plenty of worldly influences.

Near the end, “Hammouda” offers a percussively strong and busy affair where the players work together with captivating musicianship, and “Farbalak” exits the listen with no shortage of grooves and timeless jazz flavor that puts a firm exclamation point on the top notch listen.

A very detailed listen that also touches on funk, Moroccan and Brazilian sounds, Farber’s Israeli jazz formula finds a unique place to reside, and certainly deserves repeated listens for any and all fans of global jazz.

Travels well with: Steve Million- What I Meant To Say; Jared Hall- Seen On The Scene

Steve Million

What I Meant To Say

Origin, 2021

9/10

Listen to What I Meant To Say

The pianist and composer Steve Million has had a prolific year, as he also released Jazz Words alongside the vocalist Sarah Marie Young, and here with Steve Cardenas, John Sims and Ron Vincent at his side, Million regroups with some longtime friends for a batch of old and new tunes.

“Open The Book” starts the listen with Million’s sophisticated and cozy piano being complemented by the light drumming and spirited guitar work, and this dynamic interaction continues to the upbeat and playful “Old Earl”, where contagious melodies and warm energy make this track alone worth the price of admission.

At the halfway point, “Situation” has the keys dancing around the lively drumming and smooth guitar lines, while “My Explanation” brings rich and agile instrumentation that flows with much beauty. “Waltz For Mr Abercrombie”, another excellent track, then offers fascinating chord progressions as all members turn in top notch performances, especially Cardenas on guitar.

Arriving near the end, “Azusa Dreams” indeed gets dreamy as Million’s key acrobatics shine bright, and “Blue Lizard” exits the listen in 3/4 time with some bluesy ideas as the rhythm section of Vincent and Sims is nothing short of incredible.

Million actually played with Cardenas and Vincent in Kansas City in the ‘80s, performing as Four Friends, and all these years later they still retain a strong chemistry. Toss in Sims on bass, and it only solidifies What I Meant To Say as a must hear effort for those with a penchant for piano focused jazz.

Travels well with: Jared Hall- Seen On The Scene; Alon. Farber- Hagiga

Jared Hall

Seen On The Scene

Origin, 2021

8/10

Listen to Seen On The Scene

The Seattle trumpet wizard Jared Hall returns with a sophomore album as leader, where he’s in the company of Vincent Herring (alto saxophone), John Hansen (piano), Michael Glynn (bass), and Matt Jorgensen (drums) across instrumental jazz tunes that are both originals and classics and are executed with much attention to detail.

Hall starts the listen with the bouncy bass and warm keys highlighting the timeless jazz of the title track, and this energetic formula continues to the soulful and melodic “Mating Call”, as well as the initially bass focused and then reflective trumpet of “Theme From Love Story”.

In the middle, “Coral Way” showcases the superb drumming as much beauty and playfulness surrounds the dance floor ready album standout, while “If You Could See Me Now” moves cautiously with trumpet and keys interacting with much grace.

The final two tracks, “Farewell” and another take of “If You Could See Me Now”, don’t disappoint either, where the former rumbles with a fuller appeal that glows with a hard bop, and the latter exits the listen on a lengthier version of sublime musicianship and meticulously textured jazz.

An excellent debut on Origin Records, Hall explores both intimate and rich moments, and along with the esteemed players on hand, offers an ideal listen for the jazz enthusiast, where soaring solos and shifting moods make a sizable impression.

Travels well with: Michael Waldrop- Triangularity; Victor Gould- In Our Time

F. Scott And The Nighthawks

Hold On To Your Heart

Kiss The Sun, 2021

9/10

Listen to Hold On To Your Heart

A Toronto country rock outfit spearheaded by the guitarist and singer F. Scott, with The Nighthawks, i.e. Jarek ‘Jerry’ Hardy, Justin Clarke, Scotty B. Goode, Tyson Hiseler and Benny ‘The Bearcat’ Arseneau, they deliver a very impressive debut album where outlaw rock’n’roll, blues, Americana and many other influences are part of their genuine formula.

“Everything In” starts the listen with plenty of grit, as soaring guitars and energetic drumming lay the foundation for a heartland rock adventure, and “Hold On To Your Heart” follows with a firm Americana angle that benefits much from Scott’s rugged pipes and Arseneau’s proficient drumming.

Elsewhere, “Outlaws” showcases Hiseler’s versatile playing as the thumping delivery enters anthemic areas, while “Stevie Girl” trims the pace back with country influenced balladry that emits breezy melodies and flowing acoustic guitar. “Those Days” then hits a little harder with a sing-along quality that instantly warrants repeated plays.

Approaching the end, “Rattlesnake No BS Boogie” brings Boots Electric in for the album highlight that bounces and shakes with a wild, buzzing spirit, and “Saddle Up” exits the listen with Goode’s warm lap steel and much beauty accenting the sublime finish.

A record that’s got both stirring intimacy and pounding rock’n’roll, Scott and company know their way around a sparse and poetic number just as they do a rugged cowpunk affair, and this first album has the outfit setting their sights on becoming everyone’s favorite band in the near future.

Travels well with: Wild Earp And The Free For Alls- Dyin’ For Easy Livin’; Ted Russell Kamp- Solitaire

Flood Twin

Flood Twin

Self-Released, 2021

9/10

Listen to Flood Twin

An Atlanta trio consisting of Grant W. Curry (bass, vocals), J. Leslie Hedberg (guitar, vocals) and Sterling (drums, percussion, vocals), as Flood Twin the three musicians touch on the early days of post-punk, and it’s executed with an ominous and unpredictable delivery.

“People” starts the listen with some mystery as a hypnotic bass line is met with firm drumming and a very adventurous version of post-punk, and “Silence” continues this approach with a dark melody running through the indie-rock meets ‘80s punk nods.

The middle tracks are among the best and include the mesmerizing guitar of “If You Were Jesus”, where echoed vocals and a bare, dreamy formula draws us in, while “Downtown Zeroes” gets even more atypical with throbbing bass and angular guitar providing an almost desert rock feel. “Syria” then picks up the pace with its thumping drums and swift guitars that might just get you on the dance floor.

Closer to the end, “Down In The Water” leads like your favorite post-punk tune from decades ago, and swirls with a haunting yet tuneful demeanor, and “America” exits with the title being repeated over and over alongside a sort of lush meets industrial creativity.

The members of Flood Twin come from bands like Pleasure Club and The Luchagors, and the chemistry they produce draws parallels to Gang of Four, New Order and Killing Joke as they balance power and minimalism with a rawness you can’t help but admire.

Travels well with: De Press- Body Manifest; Cosse- Nothing Belongs To Anything

Streetwise

Crossing Bridges

DayQuest, 2021

8/10

Listen to Crossing Bridges

The New Yorker Ray Castronovo has had a lifelong interest in music, but had to let it idle for many years while he raised his kids and work a steady job.

Now that his children are older, he’s back with a debut release and new band, where his rock’n’roll formula spans many decades and explores many avenues of the genre in the form of Streetwise.

“Cute” starts the listen with a warm guitar line and backing vocals from Marylyn Roman, as a crisp, retro rock’n’roll spirit benefits from Joe Martinez’s bass guitar, and “A Better Place” follows with a timeless energy where percussion from Kevin Twigg and a firm melody leave an indelible impression.

Elsewhere, “Shake It” brings soulful ideas into the rhythmic album highlight, while “Dream Girl” displays Tom Jorgensen’s proficient drumming amid the ‘50s sensibilities. “Low Tide”, another universally great tune, is a duet that emits an infectious melody you won’t soon forget.

Landing near the end, “15K” showcases Castronovo’s meticulous guitar playing in a punchy landscape that somehow bridges modern rock and doo-wop, and “Boxed In Blues” places strategic harmonica into the frisky blues nods that will certainly get your body moving.

Crossing Bridges came to life during quarantine, although it’s been brewing in Castronovo’s mind for decades now, and while this first album arrives many years later than he intended, he’s making up for lost time with top notch songwriting and an unforgettable execution.

Travels well with: Neil Jacobson- Silver Park; The Guilty Lenses- Somewhat Romance, Somewhat Poetry

Bren Holmes

Everything You Never Wanted

Self-Released, 2021

9/10

Listen to Everything You Never Wanted

Perhaps best known as the bassist for the Celtic punk legends Young Dubliners for 30+ years, this debut from Bren Holmes showcases the singer-songwriter’s rootsy vision, where sing-alongs align next to emotionally raw tunes that recruits Dave Raven (drums), Rachel Grace (violin), Ward Poulos (drums), and Pat D’Arcy (Pipes, Whistles, etc) for the diverse outing.

“Sweet Talkin’ Angel” starts the listen with a very warm and melodic version of Americana that benefits from lap steel and Holmes’ gritty yet tuneful pipes, and “You Say” continues the setting with a campfire-esque delivery of quickly strummed acoustic guitar amid a bouncy, rootsy appeal.

“No Return” lands in the middle and enters darker territory that’s full of reflective wordplay and busy, lush, rugged rock, while “Ugly” welcomes Brett Anderson, formerly of The Donnas, on the melodic landscape you could dance to in a folk-punk sort of way. “Love On Your Side (LC Blues)” then does indeed welcome the blues, where graceful piano meets the sublime singing.

Further yet, “Take It All Away”, the album’s best, then flirts with pop ideas amid dreamy song craft, and “Somewhere (Ode To Shane)” exits the listen steeped in his Irish heritage, where a drinking song ends up in anthemic waters.

Even though he resides in Los Angeles now, Holmes still retains the influences from his Ireland birthplace in his work, and the addition of mandolin, violin, viola and many guest vocalists make for a Celtic rock experience you won’t soon forget.

Travels well with: Dropkick Murphys- Signed And Sealed In Blood; The Murlocs- Bittersweet Demons

Various Artists

Mighty Fine: An Austin City Limits Tribute To Walter Hyatt

Omnivore, 2021

10/10

Listen to Mighty Fine: An Austin City Limits Tribute To Walter Hyatt

Walter Hyatt only lived to be 46, but he sure did leave an indelible mark on a lot of people. The frontman for Uncle Walt’s Band, who were Austin favorites that developed an unwavering fanbase, he later went on to a successful solo career that included touring with Lyle Lovett, who is one of his biggest fans.

A year after Hyatt passed away, friends and fans came together for this tribute broadcast, which is available for the first time on CD and digitally, and it comes with plenty of bonus material, too.

Willis Alan Ramsey starts the listen with “As The Crow Flies”, where Rick Gordon’s swift guitar and Billy Block’s agile drumming complement Ramsey’s soulful, gritty pipes, and “Houston Town” follows with David Ball’s smooth pipes guiding the warm, breezy climate.

Further on, “Motor City Man” benefits from Allison Moorer’s harmony vocals as Champ Hood’s precise fiddle adds much beauty to the David Halley sung tune, while “Diggero” gets rowdy and bouncy with Junior Brown’s playful vocals in the company of John Simon’s acrobatic keys. “Babe In The Woods”, a truly outstanding track, then bring Lyle Lovett and Shawn Colvin on vocals, as Victor Krauss’ carefully plucked bass anchors the slow burning climate.

Of the bonus material, 6 tracks are Austin City Limits Recordings not included in the original broadcast, and include 3 from Champ Hood, a pair from Lyle Lovett and 1 from David Ball. Of these tracks, Lovett’s “Teach Me About Love” is particularly notable, as the legend’s inimitable pipes, intricate guitar playing and strategic bass from Krauss make a big impression.

The final 4 tracks are previously unreleased Walter Hyatt recordings, and alone are worth the price of admission. The inclusion of sweeping strings, well timed dobro and bright brass make for a diverse and timeless few tunes that truly showcases the depth of Hyatt’s talent.

Although he never achieved much commercial success, Hyatt was part of the beginning of the alt-country sound, and he inspired legions of other artists, some of which are household names. It’s tough to think of what he may have done had he not stepped on that plane that fateful day, but he sure did leave us with an extraordinary body of work, as evidenced by these 21 brilliant tunes.

Travels well with: Uncle Walt’s Band- Recorded Live At Waterloo Ice House; Steve Earle & The Dukes- Ghosts Of West Virginia

Robert Kyr

In Praise Of Music

Bridge, 2021

9/10

Listen to In Praise Of Music

The Antioch Chamber Ensemble illuminates the work of Robert Kyr across these 10 pieces, where Joshua Copeland’s conducting skills guide the power and precision as the many voices align with an unparalleled delivery.

“In Praise Of Music” starts the listen with the soaring and soothing vocals harmonizing with a sublime, spiritual appeal, and this approach follows to the expressive and emotive “O Great Spirit”, as well as the dreamy, lifting melodies of “In The Name Of Music”.

At the halfway point, “Santa Fe Vespers” unfolds in 3 movements that use the voices in playful ways that are textured precisely, while “Dawnsong” flows with both deep and soprano vocals working alongside each other with much allure. “Allelula For Peace” exits the listen, and further cements the endeavor as a masterpiece in the area of a cappella music.

The Antioch Chamber Ensemble are often cited as the greatest choral ensemble in the country today, and this effort certainly reinforces that thought as they interpret Kyr’s work with fascinating timbre, a warm tone and a flawless execution.

Travels well with: The Crossing- Words Adorned; Carl Vollrath- Old & New Poetry

The Bootheels

1988: The Original Demos

Omnivore, 2021

9/10

Listen to 1988: The Original Demos

Though The Bootheels existed for a very short time, with a line up consisting of Luther Russell (Those Pretty Wrongs), Jakob Dylan and Tobi Miller (The Wallflowers) and Aaron A. Brooks (Moby, Lana Del Rey), they possessed the talent to make a lasting impression despite only being active for a few months.

A record that pulls together demos and rehearsal recordings, this lone release from The Bootheels highlights young musicians on the rise and figuring out their place in music world, and it’s a wild ride from beginning to end.

“See It In Your Eyes” starts the listen raw and fiercely melodic as the band play with power and grit in a sloppy punk rock sort of way, and “Think Called Love” follows with a calmer approach that thumps playfully amid guitar work that far exceeds your typical high school band.

Deeper into the listen, “The Deal” illustrates the band sounding wiser than their years as they hint at what would be come of their careers later in life, while “Interstate 68 Blues” is a gritty garage rocker that's aged quite well. “Got Me On My Knees”, one of the album’s best, then offers a scrappy punk rock inspired tune that certainly wouldn’t be out place on a mixtape with some late period Replacements.

“Queen Of Hearts” lands near the end, and showcases Russell’s unique vocals amid a punchy and reckless delivery, and “Too Many People” continues with the anthem that Paul Westerberg forgot to write. The 3 bonus tracks are even more primitive, and allows the youngsters to channel their inner punk rock heroes with much success.

The Bootheels only played 2 formal shows, and 3 of the members were under the age of 18. It would have been interesting to see how these songs were received had they been released in the late ‘80s, but as far as 2021 goes, well, they sound imperfectly perfect, energetic with both intensity and restraint, and sonically charged in a way that’s eternally youthful and a lot of fun.

Travels well with: The Wallflowers- Exit Wounds; Jiffy Marx- She’s My Witch/Warning Sign 7”

Purbayan Chatterjee

Unbounded (Abaad)

Sufiscore, 2021

9/10

Listen to Unbounded (Abaad)

The sitar wizard Purbayan Chatterjee is in excellent company here, as Aleif Hamdan, Paras Nath, Michael League, Deepak Pandit and many more contribute their talents to the very diverse tracks that span the globe on this true worldly adventure.

“Shanmukhapriya- The Mystic” starts the listen with quivering strings and expressive vocal acrobatics, as dreamy moments of folk ideas are met with western jazz nods and Hindustani melodies, and “Sukoon- Catharsis” follows with sublime string plucking that radiates warmth and mystery as Thana Alexa’s stirring pipes guide the soothing beauty.

In the middle, the meticulous woodwinds of “Intezaar- The Wait” are complemented by graceful piano and dual gender singing that’s passionate and poetic, while “Lalitha- The Joyful Mother” flows with incredible dynamics between the strings, percussion and vocals, where a soaring climate develops amid a firm cultured appeal.

Near the end, the title track recruits Gary Husband, as he helps cultivate a romantic mood that welcomes Gayatri Asokan’s pretty singing alongside the subtle brass, and “Nayi Shuruaat- New Beginnings” exits the listen on a lush and meticulous album highlight, where keys, flute, strings, light drumming and flawless singing mesh together in inimitable ways.

A charming and captivating listen that pulls in artists from several countries, Chatterjee and company span Latin, jazz, folk, country, Sufi tradition, Western and Hindustani classical music textures here, and it’s all executed with much poise and depth.

Travels well with: Lucasz Pawlik- Long-Distance Connections; Flounder- I’m The Flounder

Broken Baby

Late Stage Optimism

Self-Released, 2021

10/10

Listen to Late Stage Optimism

The Los Angeles duo Broken Baby made me a fan with their 2018 self-titled album, and this sophomore effort further cements Amber Bollinger and Alex Dezen as one of the most exciting outfits in the area of punk, alt-rock and post-punk as they tear through 11 charged and well thought out anthems.

“Get The Piss Up” starts the listen with a thumping version of glam-rock, where Bollinger’s smooth vocals howl as well as soar alongside the bouncy bass work and punchy drumming, and “Meaniac” follows with soulful backing vocals contributing to the pop friendly climate that recruits a nostalgic feel.

Further along, “Die! Die! Die!” brings plenty of melody to the post-punk fueled delivery where Bollinger’s gritty yet tuneful pipes make a big impression, while “He Likes Me” is a playful album highlight that shows much diversity that you could dance to while still being rooted in rugged rock territory. “Meat Week”, another exceptional track, then showcases Adam Popick’s incredible bass prowess in the protest anthem that’s quite forthright.

“Don’t Be Rude!” lands near the end and leads with brass before transitioning to a swift and scrappy garage rocker, and “Hand Heat” exits the listen with bass from Whynot Jansveld, as both a cautious and adventurous approach unfolds that’s as pretty as it is memorable.

Certainly a ferocious outing that just oozes melody, too, Broken Baby harness the spirit of legends like Bikini Kill, as Bollinger has experienced first hand plenty of sexual harassment from her time in Hollywood. Dezen’s got a lengthy and glowing resume in the music industry, and together the pair are clearly proving just why they’re selling out shows in their hometown, and, soon enough I would assume, anywhere else they go, too.

Travels well with: Foxy- Can’t Stop Us/X-Ray Spex Tribute; The Hollywood Stars- Sound City

Get Smart!

Oh Yeah No

Self-Released, 2021

9/10

Listen to Oh Yeah No

A band whose roots go all the way back to 1980 at the University of Kansas, Get Smart! put out a handful of records and made quite a name for themselves in the post-punk scene up until 1990 when they broke up. Now back together with the original line up of Marcus Koch, Lisa Wertman Crowe and Frank B Loose, Oh Yeah No collects 6 tunes recorded in 1987 that were never released before, and they sure do sound great 34 years later.

The title track starts the listen with Koch’s razor sharp guitars and Loose’s thumping drums aligning with the bouncy bass lines from Crowe that benefit from her pretty backing vocals in the New Wave friendly opener, and “Rhythm Empty” follows with both grit and melody meeting at a place of nostalgic post-punk that sounds right at home in the ‘80s.

The middle tracks offer us the rapid fire drumming of the alt-rock flavored “Under The Rug”, while “Blonde Goes West” shuffles with a slight jangle that sounds quite current with today’s indie-rock scene and welcomes soothing vocal harmonies, too.

Arriving near the end, “Painted Floor ”is the calmest track present and flirts with both pop and punk textures, and “Paradise” ends on a lively rocker that’s both rugged and tuneful, and fits perfectly with the college rock sounds of the early ‘90s.

Steve Albini and Iain Burgess worked behind the scenes on these tracks, and it’s rare that those legends are ever involved with anything that isn’t first rate, and Oh Yeah No is no exception. Get Smart! had some shows planned for their 40 year reunion in 2020, but those were sidelined by Covid. Thankfully, these 6 tracks do a fine job of letting us revisit their under appreciated brilliance, and serve as a great starting point for the first time listener.

Travels well with: Too Much Joy- Mistakes Were Made; Pluralone- I Don’t Feel Well

Little King

Amuse De Q

Self-Released, 2021

9/10

Listen to Amuse De Q

A long running outfit that began in El Paso, Texas but is now rooted in Tucson, Arizona, Ryan Rosoff spearheads Little King, and has had a rotating cast of members since the mid ‘90s. These days, he’s in the company of Manny Tejeda (bass and vocals), Eddy Garcia (drums) and some guests who help flesh out Rosoff’s diverse vision of multifaceted rock that thematically surrounds time in quarantine during the pandemic.

“Bombs Away” starts the listen with a melodic and smooth delivery of prog-rock, alt-rock and even classic rock as a rugged yet very tuneful approach illustrates a meticulous rhythm section alongside Rosoff’s versatile pipes, and “Keyboard Solider” follows with thumping drums and playful bass that’s part anthemic and even a bit dreamy, too.

The middle tracks are among the best and include the calm, atmospheric “Set It Down”, which benefits from Becca Gonzales’ backing vocals and Asher Syrinx Rosoff’s keys that complement the sublime interplay between the musicians, while “Melpomene” brings strings from David Hamilton and Christina Hernandez into the brief instrumental.

The finals two tracks don't disappoint, where “Amuse De Q” is precisely textured and somehow sounds both nostalgic and modern in its adventurous rock’n’roll climate, and “Omega Son” exits the listen with the most firm track, where arena rock tendencies meet grit and melody that soars loud and most definitely memorably.

A very topical listen that touches on isolation, the protests across the country and sobriety, Rosoff’s been on a bumpy ride for the duration of Little King, but his perseverance is certainly admirable as he delivers sturdy riffs, plenty of grooves and a sharp songwriting skill that makes Amuse De Q one of the best guitar driven albums of 2021.

Travels well with: Vestamaran- Bungalow Rex; 35 Tapes- Home

Merciful Heavens

For Now

Get Loud, 2021

8/10

Listen to For Now

Christian Glakas is the driving force behind Merciful Heavens, and he’s got Brent Bowman (drums), Isaac Crone (bass), Emily McLeod (vocals), and Augie Gmitter (bass) on board for a brief but very impressive 6 alt-country influenced tracks that comprise For Now.

“Apples::” starts the listen and doesn’t waste anytime making an impression with its crisp drumming, strategic keys and smooth singing in a very retro-folk sort of way, and “Underground” follows with a calm, dreamy delivery that thumps with a stylish sort of atmospheric indie-rock feel that’s a little fuzzy, too.

Packed in the middle are “For Now” and “Where The Rising Sun Will Find You”, where the former welcomes McLeod’s harmony vocals amid gorgeous guitar work from Glakas, while the latter makes good use of acoustic guitar picking and ambience that’s quite in line with today’s indie-folk.

Landing near the end, “Inside Out” flows with some classic rock nods where the clever bass work and expressive singing make this the album highlight, and “Fluid Days” exits the listen with rhythm and melody meeting at a very memorable and timeless intersection.

Glakas made a name for himself as one of the frontmen for Good Looks, and this solo project embraces both personal and political wordplay amid the well thought out song craft and sharp musicianship. At just 6 tunes, this one ends entirely too soon, so let’s hope an LP is in the near future.

Travels well with: Jackson Browne- Downhill From Everywhere; Jason Molina- Eight Gates

Kinetic

Dances Of Lake Volta

Self-Released, 2021

8/10

Listen to Dances Of Lake Volta

A very diverse outfit spearheaded by the pianist Joe Sheehan, Kinetic returns with a handful of compositions that embrace Ghanaian folk and modern jazz ideas, as they texture creatively and with much elegance.

“Dusime” starts the listen with plenty of rhythm as Anita Levels provides soaring, smooth singing to the upbeat, jazz climate that benefits much from Sheehan’s playful percussion, and “Aklie” follows with Mariko Reid’s cultured pipes meshing playfully with James Johnson III’s fluid drumming and Anthony Ambroso’s warm guitar lines.

Elsewhere, “Akoo Kofi” recruits Samual Boateng on vocals for the dreamy and melodic delivery, while “Damba Suite” brings a hand clapping beginning that leads into a world music folk song that bounces with much charm. “Another Day”, one of the album’s best, then showcases Roger Romero’s saxophone prowess and Reggie Watkins’ trombone skills as the lively energy swings with much timelessness.

Approaching the end, “Kekele” offers hypnotic piano from Sheehan that twinkles sublimely in the vocal-less landscape, and “Subo” exits the listen with Levels back on vocals, as the dynamic and rich delivery escalates into a swift platform for piano and percussion acrobatics.

A follow up to their 2018 album, Songs Of Lake Volta, Sheehan and company might be based in Pittsburgh, but their sounds span the globe, and their atypical use folk, jazz and world music makes for a very compelling and unforgettable listening experience.

Travels well with: Troy Roberts- Stuff I Heard; Marcus Strickland Twi-Life- People Of The Sun

Bootstraps

Demo Love

Hyperextension, 2019

8/10

Listen to Demo Love

The Portland native, now Los Angeles artist Jordan Beckett, aka Bootstraps, returns with his 3rd album, and it’s an even more impressive display of his flourishing indie-folk prowess.

“Evergreen” starts the listen breathy and warm with keys and a hazy ambience in the break up song, and “Day In Day Out” follows with a dreamy delivery of atmospheric pop-rock influences.

In the middle, “I’d Rather Be Blue” is an ambient and surreal display of subdued acoustic beauty, while “Falling” embraces pop melodies with gritty vocals amid an abstract backdrop.

Deeper cuts bring us the lush beauty of “Touch Down”, and the breathy “Reach Out”, where falsetto vocals are touched upon with much grace. “One Day” ends the listen with fluid piano on one of the strongest tracks, although there isn’t a dud to be found here.

Beckett has already had much success soundtracking TV shows and movies, and he can even call Taylor Swift as a fan. If you’re partial to traces of folk in your pop and indie-rock, prepare to put yourself on that long list of fans, too.

Travels well with: Novo Amor- Birthplace; Roo Panes- Paperweights

Kashena Sampson

Time Machine

Self-Released, 2021

9/10

Listen to Time Machine

As if assembling a record during the onset of Covid wasn’t hard enough, the Nashville songstress Kashena Sampson saw the funding for her music, her job, decimated by a tornado as well. The resilient artist forged on, and with the help of producer Jon Estes, who plays bass, piano, cell and organ here, Time Machine presents us some forthright and genuine songs from a very talented singer-songwriter.

“Hello Darkness” starts the listen with a richly textured version of Americana and country as Sampson’s expressive and soaring pipes guide the very warm Shocking Blue cover, and “Alone And In Love Again” follows with a calmer spirit of poetic song craft that flows with a soothing folk quality.

Deeper into the listen, the graceful piano of “Time Machine” finds itself in ballad territory as Sampson’s storytelling is both thoughtful and eloquent, while “Little Spot Of Sun” recruits playful drumming amid the bouncy climate that displays Jeremy Fetzer’s fluid guitar playing. “Old Bones”, a standout tune, then gets quite soulful as the plucked bass makes an impression alongside Sampson’s gorgeous singing.

“The Black Sea” And “Work Of Art” exit the listen, where the former gets a bit darker in a dreamy, mysterious sort of way that’s quite atmospheric, even cinematic, and the latter resides in timeless folk sounds, where ‘70s nods won’t go unnoticed or unappreciated.

A songstress who embraces all the hallmarks of country, folk, and Americana that we all adore, Sampson’s songs resonate with much sincerity and her striking vocals sure do make each track here worth many listens. If this is the next household name to come from Nashville, I certainly won’t be surprised.

Travels well with: Bandits On The Run- Now Is The Time; Ana Egge- Between Us