Rachel Brooke

The Loneliness In Me

Mal, 2020

8/10

Listen to The Loneliness In Me

The Michigan country songstress Rachel Brooke returns with an album where she channels the golden era of Nashville’s history with a delivery that parallels the timelessness of legends like Cash, Nelson, Lynn and Wynette. A listen with all originals, Brooke brings her inimitable vocals and banjo and acoustic guitar skills to a very authentic experience that includes plenty of help, including her husband, Brooks Robbins.

Brooke starts the listen with the warm and aching “It Ain’t Over ‘Til You’re Crying”, where her pipes contain the perfect mix of twang and beauty in the poetic delivery of classic country flavor, and “Great Mistake” follows with a light shuffling appeal where the crisp melodies might get you on the dance floor.

Further along, “Picture On The Wall” finds a romantic place to reside with light keys and soaring vocals, while “It Won’t Be Long” recruits subtle bluegrass nods into the intimate climate. “The Lovealls Stockade Blues”, an album highlight, then displays incredible fiddle acrobatics alongside playful percussion and Brooke’s versatile pipes.

Closer to the end, “The Awful Parts Of Me” is a string friendly and highly elegant adventure, and “I Miss It Like It’s Gone” exits the listen on the more bare side of the equation, where a nearly gospel presence enters the sophisticated landscape.

While it’s certainly not always the most uplifting listen, lyrically, historically that’s always been a trademark of country music, as Brooke and company touch on the human experience with Americana, blues and folk moments in this very inviting record.

Travels well with: Bonnie Whitmore- Last Will & Testament; Dale Ann Bradley- The Hard Way

Stephanie Lambring

Autonomy

Self-Released, 2020

9/10

Listen to Autonomy

The rising songstress Stephanie Lambring is back from a hiatus from music, and she’s determined to make a record on her own terms, the appropriately titled Autonomy. Often revealing very personal details around sexuality, religion, family and body image, the multi-instrumentalist pens thoughtful and often poetic tunes very much rooted in the human experience.

Lambring starts the listen strong with the infectious melodies, expressing singing and playful percussion of “Daddy’s Disappontment”, and the devastatingly titled “Pretty” follows with gorgeous and bare instrumentation amid timeless folk qualities as Lambring thinks back to some very difficult times in her childhood.

At the halfway point, “Joy Of Jesus” displays her versatile pipes in a lyrically tense setting of sublime beauty that targets the hypocrisy of religion, while “Fine” picks up the pace into breezy indie-rock that’s immediately memorable. A particularly great tune, “Somebody Else’s Dress”, then flows some roots flavor amid the slightly haunting climate that’s as creative as it is intimate.

Close to the end, “Save Me Tonight” injects some pop influences into the lush atmosphere, and “Birdsong Hollow” exits the listen with pure emotion and power in the sparse delivery of forthright song craft where acoustic guitar and keys interact together cautiously.

Lambring had a chance to become a country star years ago, but walked away from a pair of publishing deals so she could make music the way she wanted to. While it’s true that the subject matter here wouldn’t fit well on the FM dial, she clearly makes her mark with direct wordplay and a lovely voice and glowing melodies that more than solidify Lambring as some of the best young talent that exists today.

Travels well with: Brennen Leigh- Prairie Love Letter; Tessy Lou Williams- Tessy Lou Williams

Ruthless Cosmopolitans

Ruthless

Chant, 2020

8/10

Listen to Ruthless

A New York outfit spearheaded by guitarist, producer and record label honcho Jon Madof, and rapper, poet and performance artist Eden Pearlstein, this debut from Ruthless Cosmopolitans brings us a diatribe about the last 4 years of political/social injustice set to the sounds of punk, jazz and hip-hop.

“Make America Hate Again” starts the listen with strong group vocals before Frank London’s exceptional trumpet prowess explodes in the playful rock’n’roll climate that’s also hip-hop friendly, and “The Screen Age” follows with insightful commentary about the status quo as the music shifts from harder rock to a more restrained approach where Manny Laine’s drumming is highlighted well.

The back half of the listen offers the clever “Gawd Hates Flags”, where punk rock ideas enter the energetic setting, while “Faux King Crazy” delivers a burst of exciting jazz fusion amid wordplay that dissects all the social issues plaguing us today. “Nothing In A Good Way” then exits the listen with a brief execution of ominous ambience that’s instrumental and might just be the sound of the death knell of 2020.

If this were 1994, you could easily picture Ruthless Cosmopolitans opening for Rage Against The Machine and stealing the show with their keen observations on life in modern society, and blistering, unpredictable song craft. An excellent starting point, it will exciting to see what comes next from the Ruthless Cosmopolitans camp.

Travels well with: Prophets Of Rage- Prophets Of Rage; Public Enemy- The Evil Empire Of Everything

Matthew Burtner

Six Ecoacoustic Quintets/Avian Telemetry

Ravello, 2020

9/10

Listen to Six Ecoacoustic Quintets/Avian Telemetry

The always impressive Matthew Burtner returns with Omar Carmenates, the Furman Percussion Ensemble, and the Shi Center for Sustainability for an accomplished body of work that often points at nature while possessing the capacity for very exciting, often unclassifiable sounds.

Six Ecoacoustic Quintets opens with 6 movements that appropriately leads with the soothing sounds of “Water (ice)” being strategically manipulated with percussion, which leads into the playful execution of “Wood (pitch)”, as well as the more abrasive noises of “Metal (noise)”, which, understandably, is percussively heavy. This half of the listen ends with the very fascinating air portion of just voices used in unconventional ways on “Air (breath)”, and “Skin (bones)” finishes things out with actual body percussion, i.e the noises of slapping one’s self.

Avian Telemetry comprises the back half of the listen and leads with the sound of birds on “Songscape Anthrophony”, before the narration by Michele Speitz on the ominous “Aeolian Poetics”. Deeper into this portion, “Transliteration 2: Ecologies Of Sound In Nature Cultures” finds a meditative place to reside with much attention to mood as light, calming instrumentation enters, and “Birds Why Are Ye Silent?” exits the listen with poetic storytelling amid a very graceful finish.

Ultimately a firm commentary about human’s place in nature, and the challenges, responsibilities and expectations that come with it, this is an absorbing and enlightening experience that you can’t help but admire.

Travels well with: Svjetlana Bukvich- Extension; Taktus- Mirrored Glass

Jordan Tice

Motivational Speakeasy

Padiddle, 2020

8/10

Listen to Motivational Speakeasy

Though he might be best known as a contributor in the innovative progressive string band Hawktail, here it’s just Jordan Tice’s voice, imagination and Collings guitar on a solo effort that embraces rootsy, psychedelic and folk-friendly sounds.

“Tell Me Mama” starts the listen with Tice’s intricate guitar work alongside his soft, expressive vocals in a timeless folk influenced setting, and “Matter Of Time” follows with gorgeous finger picking that complements the playful climate that’s both mesmerizing and warm.

Near the middle, “Ghost Story” flows with gorgeous, instrumental Americana, while “Where I’m At” has Tice displaying his versatile pipes amid vivid storytelling that immediately draws us in. “Bad Little Idea”, a particularly exceptional tune, then flows a bit more forcefully as 6 string acrobatics complement the quick singing.

Closer to the end, “Ready To Go” is a wise delivery of classic folk that brings to mind names like Guthrie and Dylan, and “Goin’ On Down” exits the listen sublimely, as a dreamy execution hints at the blues with much sophistication.

Tice lives just outside of Nashville, and while there are certainly traces of country in his craft, his work runs more parallel to artists like John Fahey or Norman Blake. An extremely well done, stripped back affair, Tice possesses a wealth of talent as this first rate 5th album clearly illustrates.

Travels well with: Jake Allen- Affirmation Day; Glenn Jones- Ready For The Good Times

Jack Spann

Jesus Of New Orleans

Big Boo, 2020

8/10

Listen to Jesus Of New Orleans

A St. Louis native who has called New York City home for nearly two decades now, Jack Spann has made quite a name for himself as a keyboardist, and even earned a spot playing on the demos for David Bowie’s final record.

Here, Spann handles vocals, piano, keyboards, guitar and bass, while Cecil Robinson holds down drums/percussion and John Covelli brings his trombone to the lively “Jesus Of New Orleans”, which appear in 2 versions and brings a small handful of other musicians to the party, too.

A tune that’s not short of festive funk ideas and with plenty of grooves present, Spann and company spend 10 minutes impressing us with soulful backing vocals, finger snapping, strategic brass and a dynamic, lively energy that will get your body moving. The radio edit is a condensed version of the tune, but thankfully doesn’t leave out the rock, soul and jazz qualities of it’s robust and timeless nature.

Hopefully a precursor to a forthcoming album, Spann appears to be in fine form and surrounded by exceptional talent on this 2 track disc that definitley warrants repeated listens.

Travels well with: Joe Jackson- The Duke; Todd Rundgren- Runt

Thomm Jutz

To Live In Two Worlds Volume 2

Mountain Home, 2020

8/10

Listen to To Live In Two Worlds Volume 2

The prolific songwriter Thomm Jutz returns with his 2nd album of the year, and much like Volume 1, it’s full of imaginative storytelling guided by Jutz’s sturdy pipes and creative guitar playing as well as a top notch string band.

“The Flood of 2010” starts the listen with Jutz’s soothing pipes alongside warm vocal harmonies and banjo acrobatics that make an impression on the soft bluegrass opener, and “Throw The Stone” follows with much attention to atmosphere amid the reflective display of sublime, organic beauty.

There’s 14 tracks present here, and Jutz keeps our attention all the way through with a varied delivery that includes the gentle balladry of “East Kentucky Blues”, where a timeless folk quality enters the bare setting, while the vocally strong “Evening Prayer Blues (Revisited)” illustrates Jutz’s intricate guitar picking and cozy singing in an indeed bluesy template. “Something About A Sunset”, one of the record’s best, then recruits a nearly orchestral feel as gorgeous vocal harmonies linger long after the song ends.

Near the end, “Adios Boys” is another sparse execution of stirring song craft, and the solo version of “The Flood Of 2010” exits the listen with just as much impact as the full band version, only this time we get the entire scope of Jutz’s singing and exceptional guitar work.

Though Jutz handles the bulk of the instrumentation here, he is accompanied by Mike Compton (mandolin), Mark Fain (bass), Justin Moses (dobro, banjo, vocals), and Tammy Rogers (fiddle, vocals), and together they produce some fine and rootsy sounds that resonate as great today as they will decades from now.

Travels well with: Eric Brace & Last Train Home- Daytime Highs & Overnight Lows; Balsam Range- The Gospel Collection

Peggy James

Paint Still Wet

Happy Growl, 2020

10/10

Listen to Paint Still Wet

A guitarist and singer-songwriter who was born in the midwest but raised in the southwest, Peggy James brings a wealth of influences to her atypical brand of Americana, where vintage pop ideas enter her vivid storytelling and very charming song craft.

“Let’s Fly Away” starts the album with a warm, melodic setting as smooth, expressive singing from James is complemented by Anna Vafai’s violin and Lil’ Rev’s harmonica and ukulele, and “Wiser” follows with a bare display as James sings and plays acoustic guitar while Jim Eannelli’s autoharp helps cultivate a dreamy, rootsy climate.

Closer to the middle, “I Can’t Do Lonely Anymore” recruits Connie Grauer on piano in the playful, retro soft rocker where James shows us just versatile her pipes are, while “Sailor Knots” glows with a timeless Americana spirit as James creates much beauty and emotion. “Head Over Heels”, one of the album’s best, then brings a more tense atmosphere that’s certainly still soaked in pretty instrumentation as Jim Liban lends his harmonica prowess.

Deep into the listen, autoharp returns on “Scarlet And Gold”, which almost takes on a gospel feel as thicker guitar work enters the sturdier rock foundation, and “Gettin’ Serious” exits the listen with plenty of pop sensibilities packed into the crunchy package that you’d never know was recorded live until your hear the crowd at the end.

As to how James has been able to avoid worldwide fame 5 albums deep into her career is beyond me, cause Paint Still Wet has all the components for record of the year status with its fluid singing, forthright lyrics, and deep bag of sounds that span country, folk, blues, pop and rock.

Travels well with: Cf Watkins- Babygirl; Mary Lambert- Grief Creature

Telepathic Band

Telepathic Mysteries Vol. 1

577, 2020

8/10

Listen to Telepathic Mysteries Vol. 1

A very accomplished and varied outfit who are rooted in improvisational qualities, Daniel Carter, Patrick Holmes, Matthew Putman, Hilliard Greene and Federico Ughi, i.e. the Telepathic Band, come together for their 4th album, and much like everything they’ve been a part of, it’s not short on creative melodies and moves with a very precise amount of space and balance between the esteemed musicians.

“Nun Zero” starts the listen with warm clarinet prowess from Holmes as strategic percussion by Ughi interacts in playful, sometimes mysterious ways, and “SignGhost Theatre” follows with a cinematic quality as atmosphere is key where Putman’s subtle keys help illuminate the unpredictable free jazz climate.

The back half of the listen offers us the brief and adventurous “While You Snap”, where more forceful keys reside amid quivering clarinet, while “Lore Levels” exits the listen with much ambience and gorgeous sax from Carter that builds into a very engaging orchestral meets classical formula.

With songs as short as 2 minutes and as long as 14 minutes, this is jazz music that’s largely influenced by chamber, orchestral and classical ideas, and it’s executed with an unparalleled amount of meticulousness and control on this fascinating record.

Travels well with: Test And Roy Campbell- Test And Roy Campbell; Jorma Tapio & Kaski- Aliseen

Colin Lake

Forces Of Nature

Splice, 2020

9/10

Listen to Forces Of Nature

Previously a long time New Orleans resident, Colin Lake was in the midst of a big transition in his life while recording this 3rd album, as him and his wife were in the process of switching to life on a sailboat.

During this endeavor, Lake and producer Eric Heigle worked on one track at a time- a new concept for the pair- and eventually enough tunes were collected for this very versatile and reflective listen.

“Extraordinary Times” starts the listen with warm organ as playful guitar and Lake’s smooth, soaring pipes guide the timeless rocker that’s part classic rock, part roots rock and part piano rock, and “Last Days Of The Dark Age” follows with a much calmer spirit as Lake embraces a soulful quality to his very mature song craft that addresses the fear and violence plaguing society today.

Halfway through, “Siren’s Song” moves soothingly, with soft brass alongside a very New Orleans inspired delivery that you won’t forget anytime soon, while “Forces Of Nature” displays bluesy electric guitar prowess and piano acrobatics in the lively climate.

“Stars” and “Cross Over The River” exit the affair, where the former is a finger snapping and dreamy execution of retro-rock, and the latter glides hazily with an Americana quality that’s indebted to earlier decades in its sublime nature.

A listen that’s as adventurous as Lake is in real life, Forces Of Nature mixes love songs with topical tunes about the status quo, as his meshing of soul, blues and rock is a fluid and highly enjoyable listen. Although he’s a man of the sea now, let’s hope he still finds shore enough to record more music, cause we’re all better off for spending time with Lake’s songwriting.

Travels well with: Sadler Vaden- Anybody Out There?; Aaron Lee Tasjan- Karma For Cheap

Quattracenta

II

Brokers Tip, 2020

9/10

Listen to II

There’s a long list of very influential post-punk outfits from Baltimore, and the trio of Quattracenta are certainly steering that direction, too, as this 2nd album is full of captivating art-rock and no wave influences where the always impressive J. Robbins (Jawbox, Government Issue, Burning Airlines) produced and mixed the effort.

“It Gave Away” starts the listen with a rhythmic sort of post-punk that brings to mind legends like Hoover, as front woman Sarah Matas delivers mysterious and smooth vocals amid the soft, buzzing climate, and “Bleeding Black” follows with guests Amy Domingues on cello and Winston Yu handling violin on the dark spirited, orchestral atmosphere.

The back half of the listen offers the cautious “Symmetry”, where J. Robbins plays bass synth on the angular melodies and slightly noisy setting, while “What There Is” is a hypnotic and bare display of moody instrumentation with ominous wordplay that suits the nearly gothic environment perfectly. “Demise” exits the listen with more emphasis on percussion from Andrea Shearer that interacts dynamically with playful bass from Christian Sturgis, as the quick listen finishes just as iconoclastic as it started.

If this were 1993, you might expect to see Quattracenta opening for Lungfish or Slint, and their records being on Dischord or Touch & Go, and just as it would then, it unfolds with alluring creativity and an experimental approach that we will never tire of.

Travels well with: Regulator Watts- The Mercury; Hoover- The Lurid Traversal Of Route 7

Joey Molland

Be True To Yourself

Omnivore, 2020

8/10

Listen to Be True To Yourself

The Badfinger guitarist, singer and songwriter, Joey Molland, returns from a nearly decade long hiatus of new material, and he’s got legends like Mickey Dolenz, Julian Lennon, Jason Scheff (Chicago) and Steve Holley (Wings) on hand for the healthy amount of pop hooks present.

Molland starts the album strong with the warm melodies of the breezy “This Time”, where backing vocals complement the power-pop spirit, and “Better Tomorrow” follows with bouncy keys alongside strategic brass on the sunny, glorious rocker.

There’s 10 tunes here, and they’re all great, including the cautious, gritty, romantic template of “All I Want To Do”, while “I Don’t Wanna Be Done With You” gets a bit hazy amid the precisely textured setting. “All I Do Is Cry”, one of the album’s best, then recruits retro-pop nods alongside timeless, flawless instrumentation that sounds right at home in the ‘70s.

Deeper still, the upbeat “Shine” is a dance-friendly step into playful and jumpy territory, and “Be True To Yourself” exits the listen percussively strong, as a healthy dose of Paul McCartney influence is present on the exceptional finish.

Considering what Molland has lived through during his years in Badfinger, it might be surprising that he has any interest in playing music anymore. Thankfully, he doesn’t deviate from what he knows best here, and even at 73 years old he’s proving that some things do indeed get better with age.

Travels well with: Richard X. Heyman- Pop Circles; Todd Rundgren- State

Natalie Schlabs

Don’t Look Too Close

Self-Released, 2020

8/10

Listen to Don’t Look Too Close

A Texas native who now lives in Nashville, Natalie Schlabs knows her way around an emotive, country influenced tune, and here she expands her horizons into indie-rock territory across 9 very well thought out songs.

Schlabs starts the listen with the soft, romantic “That Early Love”, where her pretty pipes guide the gentle, reflective mood, and the title track follows with an upbeat display of beat driven indie-pop that’s immediately memorable.

In the middle, “See What I See” resides closer to folk territory as breathy vocals complement the warm acoustic guitar steering the cautious spirit, while “Endless Love” enters lullaby status as Schlabs sings with a sweet, moving delivery.

Closer to the end, one of the most upbeat tunes, “Home Is You”, glides with breezy melodies and a timeless Americana approach that also flirts with pop ideas, and “Ophelia” exits the listen dreamy, where Schlabs’ flawless pipes are surrounded by pensive instrumentation as she addresses the loss of a child.

An elegant, forthright and intimate listen, Schlabs has an impressive and versatile voice, and her songs resonate with sophistication, intelligence and family oriented subject matter on this very well executed effort.

Travels well with: Cf Watkins- Babygirl; Sarah Morris- All Mine

Danielle Miraglia

Bright Shining Stars

VizzTone, 2020

9/10

Listen to Bright Shining Stars

The Boston singer, songwriter and guitarist, Danielle Miraglia, returns on her own, where her sophisticated brand of folk, blues, roots and Americana is delivered with her consistently well thought out song craft, as both covers and originals are explored alongside Peter Parcek’s guitar, Laurence Scudder’s viola and Richard Rosenblatt’s harmonica on select tracks.

“Sounds Like Home” starts the album with warm acoustic guitar as Scudder’s voila adds much to the reflective climate, and “CC Rider” follows with Miraglia’s strong, pretty vocals highlighting the rootsy and mature landscape.

As we approach the middle, “Turtle Blues” is pure power and melody in the bare blues Janis Joplin cover, while “Famous For Nothing” moves with an organic rhythm that immediately draws us in. “Meet Me In The Morning”, one of the record’s best, then benefits greatly from Rosenblatt’s harmonica prowess on the gritty blues gem.

“Walkin’ Blues”, a late album treat, then has Miraglia on her own on the soaring Robert Johnson cover, and the dreamy title track exits the listen sparse, with her inimitable beauty illuminating the emotive spirit.

Miraglia’s already made much great music with her band, The Glory Junkies, and here she proves she’s just as luminous on her own, and capable of timeless songwriting that’s as radiant as the legends she covers.

Travels well with: Casey Hensley- Good As Gone; Annika Chambers- Kiss My Sass

Papa Rosko

Papa Rosko

Self-Released, 2020

8/10

Listen to Papa Rosko

The fusion artist Papa Rosko comes through with this debut album of originals and covers, where rock, pop, alt-rock, Latin and country traces enter a very well fleshed out reggae template as Daval Fletcher, Akil Karam, Duwayne Hailett, Ian Johnson and Stephen Lambardelli accompany him, as does a long list of guests.

“Folsom Prison Blues” starts the album with plenty of grooves in the reggae flavored version of the classic tune, where Toots Hibbert of Toots & The Maytals lends his inimitable vocals, and “Tranquilo” follows with Yanelisa’s pretty pipes complementing the Latin influenced setting that’s certainly not short on melody.

At the halfway point, “NooZies” recruits a soaring atmosphere as hip-hop enters the playful delivery with a fiery horn section and drum programming by Paul Kronk, while “Chemistry Is Everything” offers acoustic guitar amid a romantic display that benefits from Lucas Morelli’s synth. “1984”, one of the album’s best, then moves loudly, with screeching guitar acrobatics as calmer moments meet frantic swells of dynamic musicianship that can be as tense as the novel it’s named after.

Close to the end, the dub version of “Now Is The Moment” leaves an impression with its soothing yet adventurous execution and the rhythmic “Man Wan 2 B Free” exits the listen with fascinating interplay between Rosko’s esteemed band.

Recorded over two and a half years between Florida and Jamaica, the album flows seamlessly from one track to the next, where the myriad of influences ensure a varied and highly enjoyable listen.

Travels well with: Space Kamp- Electric Lemonade; Brownout- Berlin Sessions

Nikki O'Neill

World Is Waiting

Blackbird, 2020

8/10

Listen to World Is Waiting

A sophisticated artist who embraces Americana, gospel, and, most notably, blues, the Los Angeles singer-songwriter Nikki O’Neill offers us 7 tracks here with much variety and a cozy timelessness where her esteemed band also welcome several guests, too.

“That’s How You Lose Her” starts the listen percussively strong as warm guitars and Jon Gold’s organ enter the soulful and rhythmic climate that will get your body moving, and “A Man For All Seasons” follows with a calmer pace of gentle vocals alongside bluesy ideas as breezy melodies are supported by Doug Organ’s subtle keys.

Elsewhere, “World Is Waiting” recruits an Americana spirit as O’Neill’s versatile vocals are front and center on the guitar friendly, soft rocker that even flirts with funk, while “All I Wanna Be Is Yours” finds a playful place to reside with a shuffling pace of rootsy sensibilities. “Take Back What I Said” exits the listen acoustic, where the bare setting proves that O’Neill excels at any volume.

A very poetic and hook filled affair, O’Neill knows her way around a thoughtful song you won’t forget anytime soon, and anyone with an ear for Americana would be wise to spend some quality time with World Is Waiting.

Travels well with: Crystal Shawanda- Church House Blues; Heather Newman- Rise From The Flames

Tom And His Computer

Future Ruins

In My Room, 2020

9/10

Listen to Future Ruins

A record that took 2 years to make, Tom Bertelsen has been active in Copenhagen’s scene for a couple of decades now, and on this solo debut he’s in fine company with Roxy Jules on vocals as he utilizes both digital and analog noise makers across 10 very creative tunes.

“A77” starts the listen with plenty of ambience as cinematic swells of electronic manipulation segues into the quick paced and dreamy “Lover And Gasoline”, where Roxy Jules lends her pretty, soaring pipes to the atmospheric, alt-rock climate.

At the halfway point, “Our Man In Toronto” is buried in mystery as percussion and synth are used strategically and atypically, while “Future Ruins” brings Jules back for a breathy and beat friendly display of indie-rock prowess that’s as mesmerizing as it is cryptic. “Puzzle”, one of the best of the best, then moves fluidly with some post-rock traces amid post-punk nods that are so well executed, it alone is worth the price of admission.

Near the end, “Fabel” is a quick delivery of hypnotic keys that are both soothing and reflective, and “Disbelief In A Postmodern World” exits the listen with much emphasis on mood as a shimmering quality enters the hazy, adventurous finish.

Future Ruins is all over the place musically, embracing dream-pop, psych-rock, and dark wave, to name a few, as it often seems like a soundtrack to a movie you want to see. Noisey but melodic in unconventional ways, this is a fantastic first album from a mind with a seemingly endless capacity for exciting song craft.

Travels well with: Trentemoller- Lost Reworks; Kasper Bjorke- Fool;

Churchwood

Plenty Wrong To Go Awry

Saustex, 2020

8/10

Listen to Plenty Wrong To Go Awry

An Austin outfit with a penchant for avant-garde exploration and the blues, this 5th album from Churchwood, although recorded in the summer of 2019, certainly does soundtrack the current troubles facing the country quite well, and with a very adventurous spirit, too.

“Ain’t Your Choir” starts the listen with plenty of intricate guitar work as dark vocals highlight the unpredictable setting that even brings in harmonicas, and “Steal It Back” follows with jagged rhythm amid a nearly theatric quality of atypical creativity.

At the midpoint, “Bees Of The Invisible” moves cautiously, with proficient drumming alongside storytelling that almost seems like gospel, while “Piss On The Fire” rumbles with a punchy grit and raw singing. “Haint Blue”, an album highlight, then delivers some of the best melodies present as well as riffs you won’t forget soon.

“Tantamount” and “Fixin’ To Crawl” finish the listen, where the former recruits garage rock sensibilities with much rawness, and the latter benefits from organs on the buzzing exit that’s not lacking any energy or lasting power.

Spearheaded by Bill Anderson and Joe Doerr, who both have impressive resumes in the world of underground rock, Churchwood aren’t playing the blues in any sort of way you’ve heard before, as prog, roots, and garage rock enter the formula, as well as minor nods to proto-punk or even surf rock that fans of Captain Beefheart, Nick Cave and Jon Spencer should be familiar with.

Travels well with: Harvey McLaughlin- Rascality; The Beaumonts- This Is Austin

Harvey McLaughlin

Rascality

Saustex, 2020

9/10

Listen to Rascality

If you were strictly looking at the song titles of San Antonio, Texas resident Harvey McLaughli’s work, you might not think the singer-songwriter takes himself that seriously, but there’s little doubt that his nostalgic brand of rock’n’roll is seriously memorable on this sophomore album.

“Ghosts On Mars” starts the album with lively piano rock as McLaughlin’s soulful pipes steer the festive opener, and “I Was A Teenage Yeti” follows with an equally energetic display of rootsy inspired rock’n’roll that will get your body moving and your spirits soaring.

As we get closer to the middle, “Ghastly Graham Ingels” moves swiftly with melodic singing that immediately invites a sing-along, while “Ping’s Chinese Restaurant” offers a retro setting where a sax solo from Leila Louise Henley leaves an impression. “Proudfoot”, one of the album’s best, then finds a calmer place to reside, where McLaughlin’s versatile pipes shine amid a reflective climate that touches on R&B.

Near the end, the key acrobatics and frisky percussion of “The Amazing Mole Boy” complements McLaughlin’s incredible vocal delivery, and “Coney Island Waltz” exits the listen with gospel influenced backing vocals as grit and power meet at a very mature intersection.

Certainly an old soul trapped in a young 30’s body, McLaughlin draws parallels to a more modern Jerry Lee Lewis, Randy Newman or Warren Zevon, and he’s clearly having a hell of a time doing it, just as we are listening to it.

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

K. Campbell

Chords Come Easy

Poison Moon, 2019

9/10

Listen to Chords Come Easy

The Houston singer-songwriter returns with 2 new tunes to his sonically brilliant resume, and much like everything K. Campbell been a part of (Die, Emporer! Die!) it’s chocked full of careful song craft that’s as agile as it is gripping.

Side A offers us the breezy power-pop meets charged alt-rock of “Chords Come Easy”, which flows with an anthemic quality amid a subtle jangly feel that’s indebted to the ‘90s in all the best, fuzzy ways.

“Static Threads” resides on the flipside and is the more cautious of the pair, as summery melodies run alongside a dreamy delivery with an instantly memorable chorus.

Much like everything on the Poison Moon label, this one comes with great artwork and a download code and is even available physically in a lathe cut 7” and a cassette.

If you haven’t familiarized yourself with Campbell don’t waste anymore time; he’s one of the most exciting artists in indie-rock today.

Travels well with: Matthew Sweet- 100% Fun; Teenage Fanclub- Bandwagonesque