Take Effect

Don’t Tread On We!

Mass Appeal, 2019

9/10

Listen to Don’t Tread On We!

Describing your band as ‘Bad Brains Meets Foo Fighters’ is a pretty bold statement, but this outfit composed of a pro skateboarder, a filmmaker and esteemed musicians take a damn good stab at their influences.

The quartet come out swinging with the dense fuzz and thick atmosphere of “Peggy”, where front woman Carolyn Coleman alternates between talking and singing. and later tracks like “Beholden” bring a fiery rhythm section not unlike your favorite ‘90s post-hardcore records. The 1865 are no stranger to blues, either, as tunes like the riff heavy “Buttermilk” clearly illustrate, and power pop nods are all over swift, punchy tracks like “The Drifter”.

A lyrically powerful listen, all themes surround the year 1865 and remind us of more unjust times in America, and, to be expected, it’s often a visceral, bitter diatribe, though there’s plenty of melodies to be found, especially on tracks like the ultra memorable “Runaway Bride”.

This one’s got it all- well thought out wordplay, strong conviction, tunefulness and grit.

Travels well with: The Gits- Frenching The Bully; Rage Against The Machine- Evil Empire

Generation Loss

Mpress, 2019

8/10

Listen to Generation Loss

A Fragile Tomorrow made me a fan pretty quick in 2015 with Make Me Over, where the sibling/best friend act brought an innovative blend of rock and pop that was impossible not to enjoy. Generation Loss ups the ante with a polished and buzzing affair that’s ‘80s influenced, groove filled, and flows with sonically loud compositions and a steady stream of vocal harmonies amid experimental ideas.

“Dig Me Out” starts with their multifaceted version of rock that’s smooth yet rugged, especially with the guitar work, and the punchy, fuzzy pop-rock of “Generation Loss” follows. The band rarely stay in one place for long, as “How Do You Dance To It?” is certainly dance floor ready but brings processed vocals and a gritty angle as the outfit expand their horizon into psychedelic territory.

As the album progresses, things get even more interesting with the rumbling rock of “I’m Afraid Of Too Much Change” and the alt-rock influenced “Gun Shy”, while the giant, tense, post-punk leanings of “I Fought The War, I Won” is easily one of the best tracks present. Late in the record, “Circling” brings a dreamy landscape that pairs well with the darker “I See My Son”, and “Technicolor” is a great example of today’s version of electro-pop with plenty of radiant grit.

Though the themes behind the album surround today’s social and political climate as well as profound loss (the brothers’ mother passed away recently), the music here is often shimmering in synth and brimming with Krautrock ideas. I can’t be the only one claiming that A Fragile Tomorrow are one of the most exciting bands in indie-rock, and this daring and unique album only solidifies that notion further.

Travels well with: Can- Out Of Reach; Television- Television

Karma For Cheap

New West, 2018

8/10

Listen to Karma For Cheap

An eccentric, prolific artist whose 2016 album Silver Tears was one of the year’s best, Aaron Lee Tasjan returns with a blurry mashing of psyche and power-pop that takes heavy nods at his interest in classic rock.

The album starts with the hazy, warbly mood and vocal melodies of “If Not Now When”, before the thicker atmosphere of “The Truth Is So Hard To Believe”, which unfolds like the song Oasis wished they wrote. Although the listen starts strong, things get better with the tumbling folk tune “The Rest Is Yet To Come”, and the darker, Tom Petty-esque “End Of The Day”.

Back half highlights include the soft acoustic strummer “Dream Dreamer” where Tasjan’s falsetto glows, the retor-rock inspired “Set You Free”, while the closer, “Songbird”, is where Tasjan’s adoration of The Beatles is more than apparent.

It’s pretty safe to say that Tasjan’s career has been anything but predictable as he’s already played punk and country. among others, and this installment proves that he’s still keeping us guessing with more creative, nostalgic gestures we won’t soon forget.

Travels well with: Semi Precious Weapons- We Love You; Daniel Romano- Modern Pressure

Runway

Self-Released, 2018

7/10

Listen to Runway

A rising Virginia songwriter with a penchant for country and rock sounds, Adam Rutledge is armed with a gritty yet tuneful voice that perfectly suits his rugged yet harmonic tunes.

“July” starts the quick listen with a soulful spirit and breezy melodies, and “Love Kickin’ In” follows with a country rock approach and plenty of warm strumming. “Hard To Be Happy For You” shifts gears into a dreamy, pop influenced tune, while “Live The Song” brings a busy mid-tempo rocker.

Deeper cuts like “Wherever The Night Takes Us” yield an anthemic quality, and variety comes forward on the keys and strong beat of “Rub A Little Dirt On It” which helps keep the songwriting strong and unpredictable.

Country veteran Phil Vassar mentored Rutledge through this EP, and his vast experience helped illuminate the guitar driven listen with the sort of easily embraceable spirit that certainly won’t keep this up and coming artist obscure for very long.

Travels well with: Old Dominion- Happy Endings; Lee Brice- I Don’t Dance

Paper Castles

Self-Released, 2019

8/10

Listen to Paper Castles

A South Africa native who previously was a fire dancer, these days Alice Phoebe Lou has moved from busking to a recording artist as Paper Castles brings her sophisticated influences into a very substantial listen that’s as thoughtful musically as it is lyrically.

“Little Spark” gets things off to an elegant start with expressive singing against a romantic mood, and “Nostalgia” keeps that theme with a waltz-like setting. “Galaxies” gets a bit darker and spacey with much attention to atmosphere and moves closer to dance rock territory with plenty of guitar work, while the title track gets soulful and stirring.

The 2nd half of the album digs even deeper into Lou’s cautious ways and even brings some playfulness in on the swift and emotive “Something Holy”, and the bouncy, jumpy “My Outside”, which brings in backing vocals and synth to the party. The album exits on the lullaby sounding “Ocean'“ that’s bare, introspective and has Lou sounding wiser than her years (she’s just 25).

A record the truly defies classification, Lou takes from jazz, folk, soul, blues and plenty of modern day indie-rock sensibilities, and comes off as a woman coming into her own not only just with music but in her entire life in a textured, reflective, agile fashion.

Travels well with: Jolie Holland- Pint Of Blood; Erin McKeown- Manifestra

Old Country

Self-Released, 2019

8/10

Listen to Old Country

A midwestern songstress with a soulful set of pipes, strong guitar skills, and even stronger songwriting prowess, Andrea von Kampen’s debut album is 8 tunes all made and fleshed out in Nebraska and by an entire Nebraskan cast of musicians.

“Tomorrow” starts the listen with sparse sounds and von Kampen’s delicate yet soaring pipes where backing strings punctuate the mood, and “Teton” follows with subtle percussion and a more playful climate. Things really pick up with the elegant and introspective “Portland”, which is a quaint, stunning folk tune.

The 2nd half of the album is equally impressive, with the pop-influenced ideas of “Julia” and the radiant, country-esque feeling of “Old Country”. The album ends on Bob Dylan’s “If You See Her, Say Hello”, where the true scope of von Kampen’s vocal talent is on display against cautious picking that twinkles with timeless beauty.

It’s pretty likely that von Kampen will find whatever she may be looking for with her music; she has the ability, the discipline and the mass appeal in her craft. Don’t let this unassuming album go unnoticed, cause it’s a gorgeous affair with much substance.

Travels well with: The Brothers Brother- Some People I Know; Ana Egge- White Tiger

Change Of Pace

Republic Of Music, 2019

8/10

Listen to Change Of Pace

Andy Frasco seems like a guy who knows how to have a good time. Or at least when listening to Change Of Pace, his 6th studio album in under a decade, it’s inevitable you’ll smile and radiate happiness.

The title track starts the album with a soulful, handclapping good time and piano acrobatics with horns to liven up the party, and “Don’t Let It Fool Ya” follows with a calmer blues spirit where Frasco’s soft pipes keep the atmosphere soothing before erupting into a gospel fueled romper. Frasco is no stranger to grooves either, as “Love, Come Down” illustrates, while “Up/Down” finds the band bringing funk to the festivities.

Though there isn’t a dull moment to be found here, other highlights include the bright, swift dance floor friendly “Waiting Game”, and one of the few subdued moments, the pensive “Can’t Force Love” that flows with a ballad like atmosphere. The album ends on the accordion fueled “Don’t Let The Haters Get You Down”, where Frasco’s upfront lyrics cement that this is an artist doing what he wants and loving every minute of it.

Change Of Pace showcases Frasco’s big heart and wild life, and, for a guy who claims to be a so-so musician, he sure can craft a a rowdy yet thoughtful listen that you won’t be able to resist being enamored with.

Travels well with: Ben Miller Band- Choke Cherry Tree; ALO- Sounds Like This

Durban Girl

Self-Released, 2018

7/10

Listen to Durban Girl

A Canadian songstress born into a musical family, Annie Bonsignore not only has an incredible set of pipes (she’s also a vocal coach) but plays piano, too. An artist with much success on two continents already, Durban Girl brings a universal pop feel to some very mature, elegant tunes.

Lead off track “Be Careful What You Wish For” lets us know exactly what we’re getting into with pensive piano melodies and strong, expressive vocals, and the softer “Let Me Go” follows suit with her moving approach. Later tracks like “Out Of My Head” bring jumpy keys and vocal layering, while “This Ring” brings a new level of cascading beauty with her soaring voice and graceful piano work.

Somewhere between pop-folk and indie singer-songwriter stylings, Bonsignore offers us intimate and forthright wordplay in her cautious song craft that carries an appeal that will span decades and many thoughtful, enlightening genres.

Travels well with: Tori Amos- Gold Dust; Sara Bareilles- The Blessed Unrest

Sew The City

Self-Released, 2019

8/10

Listen to Sew The City

A sister act where both women sing, Mia also handles fiddle and banjo and Ari holds down cello, as the pair breed a very compelling version of chamber-folk sounds with Ariel Bernstein lending a hand with percussion on 2 tracks.

“Come On Home” starts with soft, sweet vocals and gentle banjo plucking that picks up into a swift Appalachian folk tune with strong cello work, and “Apples” follows with a playful folk spirit as both ladies harmonize.. “Sweet Morning” is a more gospel and southern influenced collaboration, while “Nostalgia” switches gears into darker territory with a mix of singing/talking.

The second half of the album is equally as charming, as “Unquiet Grave” unfolds with a lullaby quality, and “Little Bit Like Me”, one of the best tunes here, is perfect blend of folky-pop meets warm Americana. Deep tracks like “Til I Die” bring a cinematic quality, and “Sew City” displays exquisite interplay between the sisters, who bring an undeniable chemistry to the listen.

Sew The City was made in rural Maine and it sounds like it, too. The sisters have a knack with weaving organic Americana, rootsy rock and traditional folk together that seems tailor made for an endless expanse of nature, and their distinct, gorgeous delivery even covers Joni Mitchell, who they’ve clearly taken much inspiration from.

Travels well with: Joni Mitchell- Clouds; Jolie Holland- Escondida

Noonday Dream

Republic, 2019

8/10

Listen to Noonday Dream

The esteemed English singer-songwriter Ben Howard returns with a 3rd album that he penned and produced, where he expands on his previous work with a sprawling, meticulous listen of exploratory sounds.

“Nica Libres At Dusk” starts the soothing listen with a mysterious and meditative tune that wanders with soulfulness but also brings in some psyche-rock ideas, and “Tow The Line” elaborates on that atypical formula with a hazy approach and soft keys.

Clearly an artist not so concerned with treading familiar waters, “A Boat To An Island On The Wall” is a live sounding acoustic tune with a spacey background that recruits strings while the wandering, blurry folk song “What The Moon Does” touches on his prior work in a more adventurous fashion.

Some of the best tracks arrive late, such as the warbling guitar licks of “There’s Your Man”, and the unorthodox charm of the dreamy, offbeat balladry found on “The Defeat”.

An album recorded over 2 years and in several places, Noonday Dream is a rich, cinematic experience that forces the listener to engage intimately. You have to hand it to Howard; he could have easily made a poppy folk album for the masses, but instead gets ambient, indirect and extremely interesting.

Travels well with: James Vincent Morrow- Post Tropical; Novo Amor- Birthplace

Love In Wartime

Signature Sounds, 2019

8/10

Listen to Love In Wartime

The husband and wife duo of JT Nero and Allison Russell, these days the musical pair are rooted in Nashville, and this 3rd studio album comes with the legendary Luther Dickinson (North Mississippi Allstars) handling production duties.

After the brief piano, banjo and humming of “Intro: Now/Sunlight”, “Never Go Back” brings us a soulful duet before the calm, soothing title track where hushed vocals meet a elegant, dreamy atmosphere. “Travelers” gives us a Russell led groove filled rocker, while “Try” is an emotive track with Nero’s rugged singing against plaintive keys.

The back half has plenty of highlights with the hand clapping, twangy guitar and rock’n’roll essence of “Roll Away”, which pairs well with the longest tune, “Baton Rouge”, where jazz, blues and country ideas mesh with lush, creative results. The album’s finest moment is its last, as “Derecho” breeds intricate rhythm and funk filled fun that’s beaming with playfulness and overflowing talent.

Though you might file Birds Of Chicago as an Americana outfit, they take on much more than that with countless other mature influences in their timeless formula. A listen that’s lyrically very potent, the rich, tender instrumentation is always heartfelt and clearly comes with a genuine spirit.

Travels well with: Ana Egge- White Tiger; Lindsay Lou- Southland

Getting Over You

Slope, 2018

9/10

Listen to Getting Over You

Though these Phoenix rockers haven’t been around too long, they’ve already made quite a dent in the area of pogo and pop influenced punk rock that takes nods at the early days of the genre but still retains a modern energy throughout.

Side A brings us “Getting Over You”, a 2 minute blast of New Wave ideas and power-pop delivery with bright synth, driving guitar work and raspy yet tuneful vocals. The tune brings us back to the early days of pop-punk, but from a grittier angle and with much creativity.

Side B gifts us “Barfly”, where more forceful vocals meet a blisterning anthemic atmosphere of fury and melody that certainly reminds us of the ‘80s, and both Ramones and Devo will come to mind.

A quick listen with excellent production, also included is a download code, great packaging and colored wax as this sophisticated yet reckless outing certainly cements The Blankz as one of the most exciting outfits in today’s punk. If you’re like me, 2 songs of their sing-along, fist pumping, infectiousness just won’t be enough; thankfully, they released several 7” records in 2018.

Travels well with: J Prozac- Here Is My Heart; Doubtfire- Doubtfire

Texas Queens 5

Vizztone/Dialtone 2019

9/10

Listen to Texas Queens 5

Now here’s a novel idea. The Tokyo long running legends Bloodest Saxophone get together with some of the biggest and brightest voices from Texas, i.e. Lauren Cervantes, Diunna Greenleaf, Angela Miller, Jai Malano and Crystal Thomas as well as other local talent for reckless, bluesy, swing, horn filled retro fun.

The classic “I’ve Got A Feeling” opens the disc with a swift, reinvented power track, before the 5 voices come together on the organ fueled “I Just Want To Make Love To You”. Crystal Thomas handles vocal duties on the warm, soulful “Losing Battle”, while Jai Malano lends her pipes on the horn and blues guitar licks of “Walking The Dog”.

Deeper tracks included the slower, saxophone focused “Don’t Hit Me No More”, and though the album is vocal heavy, “Cockroach Run” is an instrumental where Johnny Moeller offers his guitar acrobatics and brass helps punctuate the experience.

If you’re keen on old school R&B, blues and soul sounds, this stylish, heartfelt and genuine global collaboration should not be missed; with the amount of talent on hand it easily surpasses all expectations.

Travels well with: Big Jay McNeely- Crazy; Preservation Hall Jazz Band- That’s It!

Rough And Ready Heart

New Song, 2018

9/10

Listen to Rough And Ready Heart

A trio of musicians from West Virginia with an affinity for Americana, country, folk and rock-a-billy sounds, John Lilly, Robert Shafer and Will Carter bring their respective talents and build incredible chemistry on this impressive rural sounding album.

“Standing By The Side Of The Road” gets right into classic country sounds with soothing vocal harmonies and sleek guitar playing, before the bluesy title track, where frontman John Lilly (who has several solo albums) wears his heart on his sleeve lyrically as the music aches in warm, melodic ways.

The outfit continue their high and lonesome ways through the balladesque “Lost In Yesterday” and the introspective and moody “Lonely Hour”, while “Dream Of Jeanie” moves at a shuffling pace with crisp percussion and a danceable atmosphere.

The 2nd half of the listen keeps the song craft strong and timeless with the blues spirited “Well-Acquainted With The Blues”, the oldies feel of “Emerald Eyes” and a couple of the album highlights, the rugged, rock-a-billy ways of “Tombstone Charlie” and swift, swing friendly “Green Eyes” close out the record.

These guys are no doubt local heroes in their Charleston home where they play regularly, and this immediately intoxicating and universally enjoyable collection of originals should widen their fanbase significantly.

Travels well with: Dwight Yoakam- Blame The Vain; Gram Parsons- Grievous Angel

Sunshine Rock

Merge, 2019

10/10

Listen to Sunshine Rock

Though Bob Mould has been consistently releasing solo albums since the early ‘90s, his albums since 2012’s Silver Age have been some of his most urgent work since the days fronting Husker Du as he returns back to his guitar rock roots.

A man that has seemingly done everything that can be done in the area of rock music, Sunshine Rock brings in an 18 piece orchestra- a first for Mould’s career. First and foremost, though, this is a guitar fueled affair, and opening tune “Sunshine Rock” proves that Mould still has all the power and melody of his formative years.

Further down the line “What Do You Want Me To Do” is another blast of rock fury with Jon Wurster’s fiery drum kit leading the charge, and upbeat songs like “Sunny Love Song” and the arena rock sized “Thirty Dozen Roses” are further proof that Mould’s at a great place in life as of late.

Often times raw and thundering, “Sin King” rumbles with a buzzing energy that’s on par with Sugar’s masterpiece, Copper Blue, while the calming “Camp Sunshine” could certainly be strummed around a campfire. Fans of Mould’s punk days will certainly find plenty to enjoy in the blistering pace of “Send Me A Postcard”, though the cellos on “Western Sunset” absolutely illustrate that he’s growing as a songwriter, too.

As always, Mould’s stories are eloquent, relative and intimate, and regardless of what period of his discography resonates most with you, Sunshine Rock is likely to house some of your favorite Mould tunes to date.

Travels well with: Superchunk- Majesty Shredding; Porcupine- What You’ve Heard isn’t Real

Forever To Fade

Single Lock, 2019

8/10

Listen to Forever To Fade

Louisiana’s Caleb Elliott is a rising songwriting talent, and this debut album illustrates his storytelling ability, too, as the son of a preacher parlays his classical training on cello into a very artistic and warm listen.

Elliott starts out elegant and mysterious with the slow burning “Makes Me Wonder”, before the lush strumming of “Burns Like Hell”. “Get Me Out Of Here” finds him somewhere between folk and Americana, and “Forever To Fade” brings an orchestral backdrop to the equation.

The back half of the listen is just as fluid, with the gentle female backing vocals and strings of “Till The Tides Turn” and the nostalgic sounds and whistling of “Try”, while “Old Souls” brings keys, a swifter pace and even some pop-rock ideas to the equation. The album ends on the longest and most atmospheric track, as “Black Lungs” plays with mood and ambience in darker, dreamier territory.

An impressive first album, Elliott plays on his strengths well, and the guest musicians hold their own on a variety of instruments. It’s a mesmerizing and sometimes cinematic listen, and certainly will keep anyone who listens paying close attention to future releases from the troubadour.

Travels well with: Nik Freitas- Day & Dark; Will Stewart- County Seat

Deep Water

Sleep Well, 2019

8/10

Listen to Deep Water

The solo project of Kevin Olken Henthorn, formerly of Stone Cold Fox, as Cape Francis the longtime guitar player and songwriter gets reacquainted with the organic side of his art and reinvents his storytelling from a refreshed angle.

“Button Up” gets right into the raw sounds of Cape Francis with tense guitars and a moody atmosphere, and “Midnight Owl” follows suit with an ominous tone against a quicker tempo of dynamic folk-rock.

Though the album is primarily guitar and vocals, synth is used strategically on the more pop influenced “Nobody”, and horns are in attendance on the reflective and slow burning “Deep Water'“.

Mostly, though, it’s a poetic affair with insightful musings on day to day life that remain soft and comforting, like the dreamy “Don’t Open”, and occasionally, such as the album highlight “Aftermath”, the scene builds into harmonic washes of louder rock that radiate with beautiful tension.

The indie-folk pool is becoming pretty crowded these days, but Cape Francis brings a lot of skill, imagination and insight to this highly recommended sophomore album.

Travels well with: Tall Heights- Neptune; Fences- Fences

Live At Saint Peter’s Church

Alfa Projects, 2019

8/10

Listen to Live At Saint Peter’s Church

Now over ten albums deep, the baritone sax, flutist and tenor soloist extraordinaire Carol Sudhalter returns with a listen of modern jazz with some pleasant surprises on this live album.

Tadd Dameron’s “On A Misty Night” starts the record with Sudhalter’s deep contributions as well as sharp work on keys from Patrick Poladian, upright bass from Kevin Hailey and Mike Campenni’s skills behind the drum kit.

After the deft opening, the sounds here run the gamut of jazz ideas, with the chilling balladry of “Park Avenue Petite”, the swing sounds of “Funk In Deep Freeze” and the waltz fun of “Valse Hot”.

“Colin Blues” is the lone Sudhalter original and features the first time her vocals have been recorded, and it suits the mid-tempo ballad splendidly and is one of the strongest tracks present.

This recording showcases Sudhalter at her finest, and the music she and the band emit is crisp, spontaneous and allows each instrument to shine with solos and a calculated delivery that is a must for fans of contemporary jazz.

Travels well with: Lester Young- Pres; Gerry Mulligan- Butterfly With Hiccups

Vanished Gardens

Blue Note, 2018

8/10

Listen to Vanished Gardens

A collaboration that began on stage in 2017, though Lucinda Williams had ties to The Marvels prior to then, upon meeting Charles Lloyd a connection was developed that is thankfully further explored with Vanished Gardens.

Though the instrumental “Defiant” starts out with soft brass and an elegant climate, “Dust” brings in a blurry expanse with the rich, haunting vocals of Williams as she recites a poem. Although much of Lloyd’s previous work resides near jazz, “Vanishing Gardens” brings plenty of mysterious guitar licks as the atmosphere pushes and pulls with unpredictable tension, and this eclectic nature foreshadows the remainder of the album.

A long listen with most tracks well above the 5 minute mark, the ensemble spread their wings plenty with gospel sounds on ““We’ve Come Too Far To Turn Around”, the country, pedal steel work of “Ballad Of The Sad Young Men”, and the record even exits on Jimi Hendrix’s “Angel”, where Williams guides us through a soulful highlight.

Now 80 years old and having been performing music since the age of 12, Lloyd’s saxophone playing here is sublime, and the addition of an Americana legend like Williams brings the setting into a country, blues, folk hybrid that we can only hope there is another installment of in the future.

Travels well with: The Nels Cline 4- Currents, Constellations; Gillian Welch- Revival

Seneca

Self-Released, 2019

9/10

Listen to Seneca

A young man from West Virginia with a penchant for sounds that point at his Appalachian roots, Charles Wesley Godwin has got stories to tell, and does so with eloquence, timelessness and plenty of warm, thoughtful songwriting.

“(Windmill) Keep On Turning” starts the listen with a rugged, country template and Godwin’s gritty yet tuneful vocals, and “Coal Country” follows with a cozy spirit and breezy melodies- the latter being a common occurrence across the entire listen.

Godwin does a great job of exploring many different textures and ideas, and while songs like the swift, fiddle heavy, honky tonk “Hardwood Floors” are certainly danceable, others, like “Strawberry Queen”, are calm Americana with aching pedal steel. Elsewhere “Half A Heart” is a sparse folk tune, and album highlight “The Last Bite” brings a lush roots rock feel to a pensive, dramatic masterpiece.

Though most of us aren’t going to be familiar with Godwin’s name, it’s pretty likely that once his boundless talent becomes more visible, we’ll all be unable to stop hearing his name, as his folk, country, Americana hybrid is truly captivating.

Travels well with: Brent Cobb- Shine On Rainy Day; Caleb Caudle- Carolina Ghost

Love Won’t Let Me Fail

Winding Way, 2018

7/10

Listen to Love Won’t Let Me Fail

The debut album from the Philadelphia songstress comes with a backing band with horns and strings along with the usual suspects for a listen of self-described ‘soul pop’ that encapsulated pop, R&B and funk ideas into the equation.

“Sunshine” starts out the album on the bright side with rich sounds and expressive singing from Ocean, where subtle brass help punctuate the mood. “Shut It Up, And Satisfy” then accelerates the pace with a beat heavy and dance friendly tune, before the ultra soulful “Firebreathing Woman”.

Though Ocean doesn’t sound much like Alanis Morissette, she covers “You Oughta Know” and reinvents the classic with a textured, cultured approach, and later tracks like the playful and swift “Not Good Enough” and the nu-soul stylings of the elegant “Reciprocity” really illustrate Ocean hitting her stride.

Inspired by Whitney Houston from a very young age, this rising artist certainly has the pipes to achieve a similar success to her idol, and the strategic use of trumpet and violin across these tunes make Love Won’t Let Me Fail a big step in the direction of widespread fame for Danie Ocean and her band.

Travels well with: Meshell Ndegeocello- Ventriloquism; Fitz And The Tantrums- Pickin’ Up The Pieces

Silver And Gold

Self-Released, 2019

8/10

Listen to Silver And Gold

The Denver outfit explore frontwoman Rachel James’s modern country roots on this follow up to their acclaimed debut LP, and the husband of James, Dave Preston, also provides vocals and strong guitar work to the 4 tunes.

“What I Don’t Need” gets things off to a guitar fueled country-pop start with dual gender vocals and a glossy approach, and “Silver And Gold” follows and allows James to showcase her strong pipes as the piano helps set the mood. “Champion” might be the most country the duo get and spotlights Preston’s vocal prowess, and “Real Love” gets romantic and breezy with a timeless appeal and gorgeous interplay between the instruments.

An outfit who possess the rustic, warm quality of sounds from Nashville but who certainly retain the lush, organic spirit of their Colorado home, if this EP is any indication, Dearling might just be the next big thing in country-pop and Americana sounds.

Travels well with: The Civil Wars- Barton Hollow; Chris Stapleton- Traveller

Till I Burn Up

ANTI-, 2019

8/10

Listen to Till I Burn Up

The wordless guitar virtuoso Steve Marion returns with Delicate Steve’s 5th album, where Marion got to play Freddie Mercury’s synth and use Robbie Robertson’s guitar amp as he mashes many versions of rock that spans several decades of influences.

“Way Too Long” starts with a fuzzy atmosphere, warm guitar licks and washed out synth under a dense beat with bird sounds, and “Freedom” follows with dark, industrial, aberrant noises that shift into more elaborate percussion and ominous guitar acrobatics.

Elsewhere, Steve shifts into prog-rock territory on the textured and mysterious “Selfie Of A Man”, while “Till I Burn Up” recruits sturdy riffs into very modern indie-rock ideas. “Purple Boy” puts synth at the forefront on the hazy effort, and “Ghost” brings the setting down to a ballad with playful, lullaby sounds that are both bizarre and soothing.

The second half of the album shines, too, with the cinematic and dense “Rat In the House”, the dance floor ready meets goth-rock “Rubberneck”, and the minimalist and spacey “We Ride On Black Wings”. Near the end “Madness” brings us back to guitar meticulousness with post-punk nods and “Dream” exits the record on a wandering version of rock and pop.

Like most instrumental music, Till I Burn Up is open to much interpretation, and much like all of Delicate Steve’s work, even though 2 people listening to the album could describe it in entirely different ways, I feel quite confident we can all agree the few voiceless rock bands will parallel the ingenuity present here.

Travels well with: El Ten Eleven- Transitions; William Tyler- Goes West

Live At Electric Andyland

Vizztone, 2019

8/10

Listen to Live At Electric Andyland

Though Dennis Brennan has a history playing sounds closer to Roots Rock and Americana, on this debut with The White Owls the Boston legend dives headfirst into blues and soul sounds, delivering a dozen covers and 3 originals.

The album starts out with thriving Chicago Blues and the spirited guitars of “Cuttin’ On”, and the harmonica friendly “Nothing But Love”, but it isn’t long before rockabilly ideas come out on the rollicking “Yes, I’m Loving You”.

Elsewhere Brennan and company get cozy with balladry on “End Of The Blues”, and the busy, nearly garage like mayhem of “The (New) Call Of The Freaks” is easily one of the best tunes present. The album ends on a Rolling Stones cover, as Brennan does a soulful reworking of “No Expectations” with much sincerity and warm grit.

An record with incredible sound, Brennan and his band know their way around rhythm and melody, and do a fine job of balancing raw energy with smooth instrumentation. The band truly make all the covers their own, and the originals showcase their strong songwriting prowess on this top notch blues disc.

Travels well with: Nick Schnebelen- Crazy All By Myself; Bob Margolin- Bob Margolin

Chains Are Broken

New West, 2018

9/10

Listen to Chains Are Broken

The first album of new material in half a decade from the Vermont stars has their core trio of Pete Berhhard, Lucia Turino, and Cooper McBean adding their touring drummer, Stefan Amidon, to the equation.

The album gets off to a smooth, Tom Petty like start with the title track before the country shuffling of “Pray For Rain”. “Paints My Face” is a soulful, calm roots rocker, while the hand clapping and upbeat pace of “Can’t Stop” is one of the album highlights.

Though the band are skilled at slower tracks, where they excel the most are swift tunes like the blues and rockabilly offering of like “Need To Lose”, while “Bad Idea” is their version of retro-rock with plenty of addictive rhythm. “Castles”, the best track present, uses reverb friendly guitars and warm melody for a glorious country rock gem.

Certainly more folk and country centered than their earlier work, there’s also jazz and ragtime moments on this career highlight that will be sure to appease longtime fans and recruit new ears as well.

Travels well with: William Elliott Whitmore- Kilanova; Steve Earle & The Dukes- Terraplane

7/8

Self-Released, 2019

8/10

Listen to 7/8

A music composer, publisher and producer, Dimitri K’s 7/8 is just that, an album in 7/8’s time, where adventurous jazz sounds come from keys, guitar, violin and oboe with the help of a small handful of talented musicians.

Although the listen leads with “7/8”, where bright horns and warm guitars set the mood, by the time we get to “Interpretation Of A Dream” violins help bring a classical yet playful atmosphere. Other disc highlights include the soft trumpet and elegant setting of “Intuitive”, while “Oculus” brings us a some faint vocals in the folk influenced tune. The best of the best, “A Day In Paris”, is a a busy affair where keys, guitar and violin all meet for an exploratory journey.

A fun listen of jazz fusion sensibilities, the unique time signature and deft interplay between the instruments makes 7/8 an exciting album of contemporary ideas.

Travels well with: Quincy Jones- Walking In Space; George Benson- Giblet Gravy

Fireworks

Self-Released, 2019

8/10

Listen to Fireworks

A Canadian troubadour raised in a musical family, Don Brownrigg’s folk songs are rooted deep in his travels and life experience and recruit plenty of melody amid pop influenced moments, as well as much attention to atmosphere and mood.

“Bad Timing”, the first single off the album, is a spirited folk-rock tune with hand clapping, wise vocals and an introspective setting that moves into a pop-rock territory that will certainly resonate with fans of Dave Matthews, and “Take A Rest” follows a similar path with strategic keys, as Brownrigg’s vocals shift in tone to adapt to the varied instrumentation. “Perfect Poem” finds the listen gliding into groove-filled areas that are playful and detail oriented, again illustrating his meticulous nature.

Although Brownrigg is quite adept at lush, flowing sounds, he gets quite sparse on the vocally driven ballad “Nowhere At All”, while “Strum And Rhyme” stays calm and elegant and illustrates his skill in vulnerable environments. The sole cover is “Tom’s Diner” (Suzanne Vega), where Brownrigg brings an orchestral backdrop and quirky angle on the classic, and Fireworks exits on the hazy, bare “You Know”, which is a fitting end to a very expressive collection of tunes.

A record with excellent storytelling ability that possesses the capacity to bring the listener into self-reflection, while Fireworks is ultimately a relationship focused affair, it’s textured beautifully, delivered gracefully and is not quite so easy to categorize thematically or musically, and that uniqueness truly makes Brownrigg’s work so enticing.

Travels well with: David Gray- Life In Slow Motion; Beck- Sea Change

Organisms

Self-Released, 2019

8/10

Listen to Organisms

Doug Macdonald’s 14th album as leader brings us 3 originals as well as 7 reinvented standards where help from organist Carey Frank (Tedeschi Trucks Band), Ben Sholz on drums and tenor sax wizard Bob Sheppard make Organisms another glowing chapter in his long line of jazz releases.

The accomplished listen starts with the mid-tempo and warm “It’s You Or No One”, while later on “Sometime Ago” brings us a swift guitar and percussion focused tune and with “Centerpiece” the ensemble get comfortable with the blues. Balladry is also on hand with the tenor focused “Too Late Now”, though Macdonald steals the show on the guitar acrobatics of “Poor Butterfly”.

Of the originals, “Jazz For All Occasions” is a highly memorable tune with sax guiding the way while “L&T” brings a bouncy spirit to a fast paced highlight. “Hortense”, another Macdonald dominated tune, shows us how intricate and well the players can work off their respective strengths for a late standout track.

Macdonald clearly has his finger on the pulse of modern jazz sounds, and him and his players do a fine job of extracting the utmost melody out of each tune to maximize the listening experience here.

Travels well with: Herb Ellis- Roll Call; Joe Pass- Whitestone

Black Light White Dark

Self-Released, 2019

8/10

Listen to Black Light White Dark

A London singer-songwriter who’s in the company of members of The Cure and Fields Of Nephilim, on this 3rd album of dark, tense and ebullient tunes Evi Vine further proves why she is post-rock’s new sensation.

“I Am The Waves” starts the listen with haunting, ominous sounds against Vine’s soft, mysterious vocals, and “Afterlight” picks up the pace a bit with a more dense sound and forceful drumming into a Portishead meets sludge sort of hybrid.

At the halfway point “Sabbath” arrives, where giant guitar riffs and a soaring mood help propel the ambient, blurry 9 minute tune into EP highlight status, though the mesmerizing Tori Amos-esque piano balladry of “My Only Son” is a close 2nd.

Things get even more exploratory near the end with the noisey, spacey “We Are Made Of Star”, which sounds like it could soundtrack astronaut adventures, and the loud, angular “Sad Song No. 9”, which is an iconoclastic psyche-rock finisher where Vine is full of unexpected surprises.

If you’re a casual listener of music, it’s likely that Evi Vine’s work not will resonate with you. However, if you really dig deep, let the entire panoply of emotions that music can trigger envelope you, then Black Light White Dark will certainly strike a chord.

Travels well with: Marissa Nadler- The Sister; Swans- The Great Annihilator/Drainland

To Be Continued…

Self-Released, 2018

8/10

Listen to To Be Continued…

The Canadian songstress Francine Honey returns with her 3rd album of country, Americana and blues sounds, where universal tales of loss and hope come with plenty of melody and sincerity from the rising star.

Honey starts the album on the softer side of the equation with the thoughtful “Snowflakes On My Eyelashes”, where Beth Nielsen Chapman lends her vocals for the delicate yet powerful opener, and “Stay” follows and ventures into blues territory with sturdy guitar work. “Honey” brings the album into southern sounds with spirited keys and “Shacked-Up Sweetie”, the first single from the record, meshes folk, pop and country into a danceable highlight.

The second half of the listen yields balladry with “Space”, where violins help set the mood, while “Open Road” is a breezy roots rocker. “Marilyn” is a sparse folk tune where Honey’s flawless pipes really shine and the album finishes on the warm, soulful country rock of “Can’t Break Through To You”,

A graduate of the Berklee College of Music, Honey has been honing her craft since childhood and her expressive, poetic and elegant vocals truly make To Be Continued… a rich, welcoming adventure for those who who embrace pensive, cautious and gorgeous songwriting.

Travels well with: Ashley Woodruff- Ashley Woodruff; Wynona Judd- New Day Dawning

Still Alive

Self-Released, 2017

9/10

Listen to Still Alive

NYC’s Fred Argir is a busy man. He’s written, recorded and played nearly all the instruments on 6 albums in 8 years, and this effort brings 14 varied and punchy tunes with his strong guitar prowess leading the charge.

After the propulsive and ambient rock of “The World Isn’t Round”, “I Don’t Want It” brings in a hypnotic backdrop and visceral sounds, while “Catch You When You Fall” shows a more restrained side of Argir’s songwriting skill with powerful balladry.

As we approach the middle, “The Meditation Song” is indeed meditative with a slow burning, soulfulness, and “Too Tired To Fight” is an example of robustness and tunefulness in one thoughtful track.

Back half highlights include the strong percussion of “Still Alive”, the post-punk influenced and noisey “The End”, and one of the best tracks, “Burn The Bridges Down” falls near the end, and brings in some power-pop influences to the eclectic table.

Argir was born and raised in a music family in Minnesota, and he brings the influence of the fertile rock’n’roll grounds of the Twin Cities with him on this raw, DIY listen that contains pieces of grunge, psyche-rock, alt-rock and, most importantly, a keen sense of melody that makes Still Alive a stunning record.

Travels well with: The Magnolias- Off The Hook; Mickey Finn- 3 On A Match

Exotico Americano

Self-Released, 2019

8/10

Listen to Exotico Americano

Though he resides in Austin now, Frederico7 has lived in Mexico, Argentina and Brazil and he blends those experiences into Afro-Brazilian rhythms and patches of funk, dub, soul, and psychedelic sounds on this debut album.

“Exotico Americano” starts the rhythmic affair with blues spirited guitars and a lively atmosphere, before the calmer “Perola Negra”, where much attention is paid to percussion and even spacey, disco sounds. “La Mirada del Halcon” brings us a groovy, dreamy, danceable tune, while “Nature Of Love”, for his wife, has sax and trombone contributing to the festive atmosphere.

Back half highlights include the synth programming and playful “Samba Revelation”, which is one of the few tunes sung in English, and the breezy island melodies of “Azul Transcendental” punctuate how infectious the record is. The flute acrobatics of “Ciclo das Galaxies” certainly stand out on an album with much diversity, and stands out as one of the most interesting of the bunch.

A very modern version of Pan-American soul sounds, it took Frederico 3 years to complete the album and his patience and careful attention to detail make this a listen beaming with creativity and inspired, thriving ideas.

Travels well with: Suns Of Orpheus- Amoris Orbita; Ben Jorge- Big Ben

One Time

Sony/ATV, 2018

7/10

Listen to One Time

A Paris and New York duo, Nicolle Rochelle handles the vocals while Antoine Chatenet builds beats, samples and hooks. Together the pair create trap, bass and club sounds on One Time, where pop, swing and electronica come together in flourishing ways.

“One Time” Starts the party with dark mystery, and brings both house sounds and electro-pop buzzing as the tune evolves. “Boy Bounce” follows and brings us jazz, hip-hop and swing for an ultra-creative dance track, and later tracks like “Don’t Give A Damn” and “What We Do” will certainly light up the dance floor, too, especially the swift and melodic former, while the latter brings in strategic dual vocals for the EP highlight.

Self-described a future swing, it’s certainly that plus countless other ideas and brings an irresistible energy and lively beats to originals that warrant repeated listens.

Travels well with: Caravan Palace- Panic; Parov Stelar- Coco

The Gloaming 3

Real World, 2019

9/10

Listen to The Gloaming 3

The Irish-American sensations return with a 3rd studio album of their acclaimed collaborative efforts that transcend any specific genre, but certainly make optimal use out of jazz, chamber, folk, classical and minimalist sounds.

Further proof of The Gloaming’s inventiveness is immediately apparent in the opening track “Meachan Rudai (The Weight Of Things)”, where strong vocal work meets a sparse but impactful background of keys and strings. The instrumental “The Lobster” follows with light piano and fiddle acrobatics, while the pace slows down with the warm balladry of “Athas (Joy)”.

Though the album is heavy on instrumentals like the 8+ minutes of the graceful “The Pink House”, and the quick paced, danceable fiddle and pianos of “The Old Road To Garry”, the band make great use of vocals on the haunting, cinematic “Reo” and the album closer, “Amhran na nGleann (The Songs Of The Glens)”, which brings their Irish heritage to the surface with a soaring, droning exit.

The band took on a different approach this time, where only 3 of the 10 tracks were played live before being recorded. This forced the quintet to really dissect the songs individually in the studio for maximum effect, and they easily succeed in a poetic, soulful and meticulously detailed masterpiece.

Travels well with: James Vincent Morrow- Post Tropical; Jesca Hoop- The House That Jack Built

High On The Radio

Self-Released, 2019

8/10

Listen to High On The Radio

A female country trio from Los Angeles, Dani Rose, Katie Stump and Devon Jane were all playing individually but decided to unite their collective strengths as Honey County in 2014. With 3 part harmonies, pop hooks and southern twang in their arsenal, this quick EP is a peek into the vast talent these women can offer.

The title track starts out with breezy melodies and a country rock spirit as the three harmonize fluidly, and “Sale Of The Summer” follows and sits firmly in today’s version of pop rock sounds. The middle tracks include the emotive, heartfelt “Love Someone”, and the ode to their city “Los Angeles”, which brings some mystery amid a gorgeous landscape. The highlight tune, “Ain’t No Party”, delivers sleek sounds and a stylish approach and could certainly soundtrack a party, and things exit on the calm, calculated “Cigarette”.

Though their moniker might be fiction, these 6 tracks are the real deal in the area of pop-influenced country, and it wouldn’t surprise me one bit to see these ladies achieving worldwide fame very soon as their formula is instantly enjoyable and easily relatable.

Travels well with: Striking Matches- Nothing But The Silence; Clare Dunn- Clare Dunn

Mind Grafitti

Self-Released, 2019

8/10

Listen to Mind Grafitti

An Atlanta outfit with an affinity for experimental ideas that also run parallel to alt-rock and electronic sounds, L.E. Kipper and Eric Weissinger, aka I Am A Rocketship, make plenty of thriving noises with melodic sensibilities on this sophomore album that unfolds like a mixtape of the most interesting kind.

“Face Off” gets right into the thick of things with dense, fuzzed out guitars and an ominous backdrop that still leaves plenty of room for bright melodies. and “Vertigo” follows with powerful organs that give way to a hypnotic, droning rocker.

As the album progresses, we are treated to the restrained alt-rock of “Intermittent”, the blurry, electronic, hip-hop influenced “Kick” and the grungey meets lullaby-esque “Take Your Time”, which wouldn’t be out of place on a Cranberries album.

Late highlights include the title track, which is a beat heavy, hushed tune with vocals from Weissinger that add to the elegant affair and the electronica influenced “High Above It All”, which recruits ‘80s New Wave ideas in the best ways.

There’s something for everyone here, from metallic riffs, to danceable indie-rock and psychedelic and trip hop moments as well. Even though the duo scoop up plenty of influences along the way, their work is entirely their own and Mind Grafitti is a daring record that warrants repeated listens.

Travels well with: Rammstein- Mutter; Garbage- Beautiful Garbage

Carnival Barkers

Cleave, 2019

8/10

Listen to Carnival Barkers

The brainchild of Cole Guerra, the North Carolina resident penned and fleshed out Carnival Barkers in his home studio before having some guest musicians help touch it up. After a long break from songwriting, Guerra’s first album takes into account today’s political climate and his own work in clinical psychology for a very topical, insightful peek into his creative mind.

From the curious, opening tune “Charmer”, it’s apparent we are in for an atypical experience. “Flood” follows and continues with a mysterious version of quirky ‘80s influenced pop, and “Window” brings a darker feel with synthetic drums. Often with a spontaneous feel, “Wolf” yields a improvisational setting with spoken word, while “Clay” brings organs to the highly sophisticated listen.

Later tracks like “Anchored” merge piano melodies against very strong rhythms and “Almost” is a lounge jazz stunner with soft horns. “Muggers”, one of the best tunes here, is also one of the swiftest with spacey sounds and a pop fueled pulse you could dance to.

Describing I Am Casting is no easy task. Shards of Bob Dylan, Peter Gabriel and Paul Simon are present, but Guerra’s song structure certainly stands on its own merits, and the musicianship is quite complicated, though brings no pretension to the affair. I am album that requires multiple listens to really sink in, Carnival Barkers is a triumphant return for Guerra and an eloquent snapshot of life today.

Travels well with: Genesis- Foxtrot; Todd Rundgren- Something/Anything?

And If You Will Come To Me

Cumbancha, 2019

8/10

Listen to And If You Will Come To Me

Idan Raichel has seemingly done the impossible by establishing worldwide fame playing Israeli music, and the global icon ups the ante here with an album featuring musicians from Japan, Bulgaria, Ethiopia, Cuba, India, Niger, and, of course. Israel.

The listen starts strong with the textured, diverse “Galgal Mistovev (Spinning Wheel), which flows into the acoustic, soft sounds of “Ahava Ka’zo (A Love Like This)” that brings in the pretty vocals of Zehava Ben to illuminate the elegance on hand. The title track- one of Raichel’s biggest hits to date- highlights everything he does best, from emotive vocals to thriving sounds with fluid instrumentation, and has apparently struck a chord with many as “Ve’Eem Tavo’ee Elay (And If You Will Come To Me)” has become a wedding standard.

Raichel recruits some incredible talent here, including Bombino, who contributes guitar licks on the groove friendly “Imidiwanine (My Friends)”, and Grammy nominee Danay Suarez lends his pipes on the busy, festive atmosphere of “La Eternidad Que Se Perdio (The Eternity That Was Lost)”. Later on, more diversity comes through in the funky “Ketero (Let’s Meet)”, where 17 year old Yahalom David showcases her mature voice.

With his 14 piece ensemble The Idan Raichel Project on hiatus for 3 years now, Raichel has been able to focus on the more intimate part of his art, and this chapter is another installment of inventive, creative, eclectic world music sounds that deserves the global attention it will likely receive.

Travels well with: David Broza- Third Language ; Moshav- New Sun Rising

When Love Ends, Be The Water

Self-Released, 2019

8/10

Listen to When Love Ends, Be The Water

Formerly of Hacienda and The Fast Five, these days the trio of brothers from San Antonio are bringing their R&B influenced alt-pop as Idyll Green, and the 5 songs on When Love Ends, Be The Water are a fine introduction to this very skilled new vehicle.

The quick listen starts with the ultra funky “4 Days In SA”, that plants a laidback setting with plenty of grooves and soulful singing, and “Jukebox Gentleman” follows with a dance floor friendly vibe that’s both crisp and creative.

The end of the EP brings the highlight track, “Moonlit Magic”, where hip-hop beats and heavy attention to detail on the production side unfolds like a late night love song, and the siblings exit on the dreamy, key friendly and thriving “Be The Water”.

A listen with plenty of flourishing melodies and strategic layering, Idyll Green’s take on alt-R&B sounds is an exercise in ingenuity and these autobiographical tunes are a fantastic starting point

Travels well with: Frank Ocean- Channel Orange; Johnny Nash- I Can See Clearly Now

Cold

StormChaser, 2018

8/10

Listen to Cold

An obscure but heartfelt Nashville artist, J Edwards and his raspy and raw vocals have stories to tell- ones he’s lived- and they will resonate with those that work hard, love hard, and, sometimes, fall on hard times, too.

“I Ain’t Broken” starts the album with husky vocals, blues spirited guitars and a resilience in the lyrics. and then things get calmer on the soulful ballad “Staying Here”, where gravelly vocals sync up well with restrained music.

Edwards puts every ounce of emotion in his work, and songs like the piano led, Bob Seger-ish “Young Again” illustrate this, and the heartbreaking, ebullient “Another Cold Shoulder” is a dark yet beautiful highlight. Still, despite the themes of sorrow, Edwards does offer plenty of playful sounds. “Whole Lotta Nothing Going On” brings us organs and upbeat melodies, while “Cold Cold Summer” is a rustic roots rocker.

Listening to J Edwards is like wandering into a hole in the wall bar and seeing live music from someone you’ve never heard before, but certainly will never forget. Despite his ragged voice and often downcast subject matter, the guy strikes a chord deep down in the listener that resonates with grit, beauty and feeling.

Travels well with: Joe Cocker- Unchain My Heart; Patrick Sweany- Daytime Turned To Nighttime

Call Me: Jazz From The Penthouse

Century 67, 2019

8/10

Listen to Call Me

A collection of previously unreleased live recordings from the criminally overlooked Jack Wilson, the 9 tracks here were recorded in Seattle during July and August of 1966 and feature a young Roy Ayers on vibraphone. A varied collection, Call Me brings us standards, Wilson originals and pop hits from that time, along with Buddy Woodson on bass and Von Barlow behind the drum kit.

The title track starts the listen with nearly 10 minutes of Wilson’s smooth piano against bright percussion and strategic vibraphone, and “Serenata” follows with a more key focused tune that twists and turns with both dramatic moments as well as playful ones.

The remainder of the tunes might not be quite as long, but certainly have lasting power with the busy “Harbor Freeway 5 P.M.”, the vibraphone acrobatics of the tumbling “Here’s The Rainy Day”, and the darker, cascading “The Shadow Of Your Smile”.

Later tracks like “Nirvanna” really illustrate the outfit expanding their depths with light and dark contrasts, and Oliver Nelson’s “Stolen Moments” closes out the affair with the ultra stylish vibraphone swagger from Ayers.

While the album was recorded live, other than the occasional audience clapping you wouldn’t know it as the sound here is crisp, full and pristine. Included is a 24 page book with rare photos, interviews and producer notes, making this the total package for not only Wilson fans, but all enthusiasts of piano jazz.

Travels well with: Roy Ayers- No Stranger To Love; Earl Anderza- Outa Sight

Valley Of The Bones

Self-Released, 2019

9/10

Listen to Valley Of The Bones

A songstress with a keen sense of roots music, country sounds and the lush, mountainesque ideas of her North Carolina home, Jane Kramer’s 3rd album again showcases her strong, soaring pipes alongside clever and relatable storytelling.

“Hymn” starts the album with pretty, introspective country spirited musicianship that tips it hat to legends like Emmylou Harris, and the playful, rootsy feeling of “Waffle House Song” follows and will certainly resonate with anyone who has spent time at the eatery.

Kramer has a penchant for gorgeous settings, and the breezy melodies and thoughtful “Macon County” and the piano fueled ballad “Child” are proof of her harmonic timelessness, but upbeat offerings like the warm, sweet “I’ll See Your Crazy And Raise You Mine” are some of her best work, while more folk oriented moments like “Valley Of The Bones” certainly radiate her boundless talent.

Kramer’s sage like and often witty tunes are in graceful company alongside fiddles, upright bass, dobro, mandolin and even strings, and her two decades of songwriting experience really shines on this flawless singer-songwriter masterpiece.

Travels well with: Patty Griffin- American Kid; Steep Canyon Rangers- Out In The Open

Wisdom Teeth E.P.

Atlantic, 2019

9/10

Listen to Wisdom Teeth

Naomi Hamilton, aka Wisdom Teeth, returns with her 2nd EP in 7 months, and this time we get 5 new tunes from the quickly rising indie-rock songstress.

“Marrow” starts out the thoughtful EP with playful acoustic strumming that builds into a lush landscape of guitar driven, waltz friendly, folky-pop, and “New York Has A Lump In Her Throat” follows with quaint, soaring beauty that recruits spoken word and a quick pace.

The second half of the listen brings us the loud, full on rock of “Blue Eyes”, where wild bass lines really illuminate the track, and a pair of introspective tunes with the darker, moody, rich sounds of “Kosiskelu” and the warm, cautious, country-folk inspired “Clemintina”

The Irish songstress sounds as poetic as ever here, and though Hamilton is a youngster, her songs radiate with the feeling of an old soul as she takes her art into a more mature, textured, exciting direction. If Wisdom Teeth is any indication, her forthcoming sophomore album (assuming there is one), should be the record where the world discovers the immense talent this woman possesses.

Travels well with: Molly Burch- Please Be Mine; Tall Heights- Neptune

Heads Up

Poison Moon, 2019

9/10

Listen to Heads Up

A solo project of power-pop and punkish sounds, K. Campbell brings 2 tracks here on a 7” record or limited edition cassette, where DIY ethics are surrounded by timeless pop ideas that buzz, drip and simmer in melody.

Side A brings us the love song “Heads Up”, where crisp guitars meet bouncy, tuneful atmospheres and smooth vocals that yield instant sing-alongs. With a bedroom pop feel, Campbell brings us the best moments of late ‘90s alt-rock on this memorable opener.

The B side is “So Still”, which is a fuzzy, restrained rocker that builds into a soaring, majestic, powerful tune with a touch of Ben Gibbard (Death Cab For Cutie) in the emotive vocals.

Campbell cut his teeth in the early 2000’s outfit Die, Emperor! Die!, and after hearing these very well crafted 5 minutes it’s quite obvious his songwriting prowess hasn’t diminished one bit. Great packaging, too, with a download code, charming artwork and thoughtful lyrics.

Travels well with: Ted Leo And The Pharmacists- The Tyranny Of Distance; Sloan- Commonwealth

Butter

Self-Released, 2018

9/10

Listen to Butter

Though folk and country might be the biggest contributions to the formula Karen Jonas uses, she’s also got a penchant for blues, jazz and ragtime on this very retro and fun 10 tunes that yield a very unique brand of Americana from the Virginia songstress.

Butter lets organs set the mood on the opening “Yellow Brick Road”, where sweet and expressively vocals work well with the bright, warm instrumentation, and from there things ache with the pedal steel of “My Sweet Arsonist”, where a more introspective atmosphere arrives.

As the albums moves on, things get more exploratory with the horns and soulful “Butter”, the breezy country melody of “Gospel Of The Road”, and throwback shuffle of “Oh Icarus” that sounds like it could be playing in a speakeasy 100 years ago. All of the varied influences come together on the jazzy, big band, carnivalesque sounds of “Mr. Wonka”, which really displays what Jonas is capable of with her varied craft.

An extremely eclectic and accomplished album, Jonas is daring enough to incorporate a lot of elements often absent from Americana, and together with her flawless pipes our only real option is to be left in awe.

Travels well with: Ryan Culwell- Flatlands; Ruby Boots- Don’t Talk About It

Travels well with:

If It’s Love

Self-Released, 2019

8/10

Listen to If It’s Love

The debut album from the Austin R&B, soul singer, Kelly Hafner brings us the stylings of neo-soul from the perspective of someone much younger than her influences, and recruits plenty of help from brass, strings, percussion and keys on these 10 tracks.

The mature album leads with the title track, where aching violin and blues spirited guitars set the mood for Hafner’s expressive vocals, and “Dreams” follows with her engaging voice against warm. lifting melodies.

Hafner and company don’t stay in one place for too long, though. “Things Are Changin’” brings us a funky spirit and festive vibe and “Give Light” jumps right into reggae with meaningful wordplay. Horns and organs really add to the formula on the groove friendly “Lifted”, while “No Time” recruits a soaring gospel feeling amid some bluesy undertones.

While the listen is certainly very rich, precise and universal with respect to the musicianship, it’s Hafner’s flawless pipes the convey all the emotion in the stories and truly makes If It’s Love a record that warrants repeated plays.

Travels well with: Amy Winehouse- Frank; Lauryn Hill- The Miseducation Of Lauryn Hill

Myself Through You

Self-Released, 2018

8/10

Listen to Myself Through You

The 2nd EP from the Brooklyn troubadour Kevin Daniel brings more greatness in the form of heartfelt Americana where pedal steel, flugelhorn and banjo help flesh out some very memorable tunes.

The quick listen starts with the swift acoustic strumming and tambourine fun of “Myself Through You”, and “Golden” brings a more country spirited approach to a warm track. “Born A Preacher” may sound gospel, but moves with a cautious Americana feeling where backing vocals and a lush atmosphere make it the EP highlight, while “Faded Red” brings freewheelin’ banjos for a danceable, bluegrass moment. The listen ends wiith “Hardcore Medicine”, a soulful roots rocker with organs and splendid vocals from Daniel that ties in all the things we love about Myself Through You.

Though he’s been in countless other bands in his lengthy musical career, the impetus for Daniel’s solo work came to life at after his mother and stepfather died in a plane crash in 2013. As to be expected, Daniel takes on deep topics, tells stories with much sincerity, and leaves the listener anxiously awaiting an LP with these strong 5 tunes.

Travels well with: Ryan Adams- Demolition; Rocky Votolato- The Brag And Cuss

Music To Draw To: Io

Arts & Crafts, 2019

8/10

Listen to Music To Draw To: Io

The recording moniker of Canada’s Eric San, an innovative scratch DJ, composer and author,, the 2nd installment in this series brings Trixie Whitley on 6 of the 18 tunes, as her contributions collide nicely with Kid Koala’s ambient, exploratory arrangements.

From the opening tune, “Circle Of Clouds”, where dark, warbling synth melody illuminates the track, we’re treated to endless creativity from other atmospheric instrumentals like the minimalistic and hypnotic “Shielded” to the moody, glitchy and fuzzy “Resonance”, where sounds are manipulated in very unusual, compelling ways.

Whitley’s contributions shine bright, and are some of the album highlights, especially the soft, mesmerizing “Lost At Sea” and the emotive, expressive “Diamond Heart”. Her best performance, however, is easily the whispered, spoken word and agile singing over the gentle, meditative sounds of “Look-Back Time”.

A highly innovative blend of electronica and instrumental ideas, it’s an abstract journey where Whitley’s adaptive vocals highlight the affair and enhance Kid Koala’s approach with a dynamic quality that ensures the listener will be enthralled for the lengthy listen.

Travels well with: Trixie Whitley- Fourth Corner, Amon Tobin- Permutation

Leland And The Silver Wells

Rubia, 2018

8/10

Listen to Leland And The Silver Wells

Leland Ettinger brings in a large cast of musicians to flesh out this self-titled 3rd album and her first in over a decade that’s so varied it often unfolds like a mixtape.

“We Dissolve” gets to a unique start with tropical, orchestral, percussion heavy sounds before the jazz influenced and violin friendly “Was A Prisoner”. “Luck Of The Draw” brings blues in a playful way with layered vocals, while “Give Up The Gun” is the most pop influenced tune, though not without strings present.

Side B is just as eclectic with the lo-fi folk of“Lost My Way”, whereas “Carry Me Home” is a fine example of how much the ensemble can do with harmonies. “Play It As It Lays”, one of the adventurous tunes, closes the listen with ten minutes of psyche-rock wandering.

A very poetic, rich and unexpected journey where baroque, orchestral, classical and multifaceted rock ideas emerge with plenty of grace and sophistication, let’s hope that it’s not another 10 years before Leland returns with more music.

Travels well with: Lost In The Trees- A Church That Fits Our Needs; Laura Nyro- Angel In The Dark

Psychedelic Country Soul

Omnivore, 2019

9/10

Listen to Psychedelic Country Soul

Though these days alt-country is a heavily populated subgenre, in the ‘80s, when the Los Angeles outfit The Long Ryders were most active, it was an uncommon practice, but one they flourished at, subsequently paving the way for countless similar bands to come. Psychedelic Country Soul, their first new album in 30+ years, brings their classic line up together for a much overdue listen with some all-star guests.

“Greenville” starts the album with breezy, country influenced melodies and upbeat musicianship that’s also rootsy, and “Let It Fly” follows with multiple voices, including Debbi and Vicki Peterson of The Bangles, and graceful violins. The band rarely follow the same path from song to song, as “Molly Somebody” is a fluid folk and pop rocker and moves directly into the fiddle heavy and aching acoustic template of “If You Want To See Me Cry”.

The 2nd half of the album is just as stunning, with the quick paced power-pop and gritty leanings of “What The Eagle Sees”, the soaring and anthemic “The Sound” and the stripped back, acoustic “Bells Of August”. The lone cover is Tom Petty's “Walls”, which is reinvented with a tense mood that still keeps the cozy, warm setting of the original.

A glorious return from a band who fused twang and punk together better than anyone, Psychedelic Country Soul is an aptly titled record with plenty of power and melody and will absolutely be one of the best albums of 2019.

Travels well with: Buffalo Springfield- Last Time Around; The Jayhawks- Tomorrow The Green Grass

Promises Promises

Madgrace, 2019

8/10

Listen to Promises Promises

Lost Leaders are the duo of Peter Cole (vocals, guitar) and Byron Isaacs (vocals, bass), who has also been a touring member of The Lumineers, and on their sophomore album the pair deliver an innovative and intriguing variation of rootsy rock ideas armed with vintage synth, guitar pedals and heartfelt vocals.

The first single, “Extra-Ordinary”, starts the affair with is a bluesy rocker with arena rock sized hooks, and vocals not unlike a young Tom Petty and “I Will (Fulfill)” follows with a warm spirit and a calm atmosphere.

Cole and Isaacs shine at both sparse and full templates, and while the acoustic based and hand clapping fun of “People Like Us” points towards their early Americana influenced days, the soaring rocker “All That I Want” could be blasted out a stadium with its colossal approach. The two also embrace plenty of pop spirit, and songs like the pensive and groove friendly “Falling” and the beautiful melodies of “Wake Me Up” illustrate a universal angle that’s impossible not to enjoy.

Although Lost Leaders started out firmly planted in alt-country, these days there’s really no way to categorize the sounds they make, although it’s all done cautiously, genuinely and with plenty of memorableness, unpredictability and excitement.

Travels well with: Ryan Adams- Prisoner; Wilco- The Whole Love

“Dirty Pictures” (Part 2)

Contender, 2018

9/10

Listen to “Dirty Pictures” (Part 2)

It’s been a busy decade for Philadelphia’s Low Cut Connie, who, if you have for some reason not been informed, have become a pretty big deal in the world of rock’n’roll. “Dirty Pictures” (Part 2) is not only their 5th album, but their most sophisticated, thoughtful, and, if I can be so bold, creative work to date.

The album gets off to a rowdy start with the bluesy honky tonk rockin’ “All These Kids Are Way Too High”, which makes use of a slinky piano melody you won’t forget for days. “Beverly” follows with a more restrained approach that’s still soulful and rugged, before the reckless piano fueled rocker “Oh Suzanne”, which brings plenty of furious guitar licks, too.

Certainly known for their incendiary live shows, the band thrive in quieter atmospheres, too, as the calm, Elton John influenced “Every Time I Turn Around”, and acoustic guitar, maudlin moment “Hollywood” prove in spades.

The back half of the album brings back the rock on the thundering and bold “Master Tapes”, and the guitar fueled stadium rocker “Please Do Not Come Home”. The album exits on Alex Chilton’s “Hey! Little Child”, which puts a raw, loud twist on a classic.

Whether you’re a fan of The Stones or The Replacements or are looking for a soundtrack to incite a barroom brawl or to drown your sorrows in, this installment of Low Cut Connie will serve you well. Finally a band who live up to all the clamor, if you haven’t spent considerable time with these future legends, well, you need to rectify that immediately.

Travels well with: Wussy- Forever Sounds; Deadstring Brothers- Cannery Row

London Calling- A Tribute To Julie London

A.T., 2019

8/10

Listen to London Calling

A tribute to the late actress and jazz artist Julie London, Lyn Stanley delivers a romantic listen of 17 tunes, all but 2 that were originally recorded by London. With an all star line up of Los Angeles session musicians, Stanley breaths new life into old songs, but still retains the loving atmosphere of London’s work.

“Goody Goody” gets the listen off to a frisky, shuffling pace with excellent backing vocals, and on “Call Me Irresponsible” Stanley channels the sultry approach of London perfectly. A very vocal focused listen, songs like “Blue Moon” are a delicate affair with warm guitar against Stanley’s intimate vocals, and London’s most well known tune, “Cry Me A River”, allows Stanley to illustrate her impressive range.

A record with truly exceptional production that enhances each individual instrument, “Summertime” is a dark, minimal tune with crisp percussion and skittering keys, while “Light My Fire” is a Spanish flavored offering with Latin influenced, bouncy rhythms. Elsewhere, “As Time Goes By” brings a playful lounge jazz that’s so bright, it seems like the band are playing right in front of you.

Included are a couple of tunes not done by London but that Stanley felt should have been. The best of the pair, “Heard It Through The Grapevine”, is percussion friendly and sparse, with plenty of attention to atmosphere and sophisticated yet creative musicianship.

A very thorough release with excellent liner notes and packaging, this is Stanley’s 6th album since 2013, and it’s easy to embrace even if you’ve never heard London as she makes each track her own while keeping the spirit of the ‘60s alive.

Travels well with; Sarah Vaughan- In A Romantic Mood; Diana Krall- Only Trust Your Heart

Tu Mission

Self-Released, 2018

8/10

Listen to Tu Mission

A band that formed from a trip to San Francisco that Raul Vargas made based on a tip he got while in Australia, it didn’t take long for Vargas to link up with like minded musicians to form Makru, who have enjoyed a 16 year career thus far.

Here the five piece brings us sounds as varied as ska, reggae, rumba flamenca and more, and are accompanied by a handful of musicians with horns and percussive influence to help flesh out the cultured album.

The quick listen leads with the brass flavored ska and reggae sounds of “Nomadas Opcion”, though it’s not long until peaceful, nature tinted tunes like the percussive and acoustic “Contar” and the emotive, English sung, violin friendly “Cloud” arrive.

The back half of the listen offers us the stylish “Palabras”, the lullaby turned into Middle Eastern folk sounds of “Tu Mission”, and the album highlight, “Where You Wanna Be”, where strong female vocals and a groove filled atmosphere yield a ska-rock masterpiece that’s soulful, danceable and a whole lot of fun.

A world music meshing that’s full of strong rhythm, detailed musicianship and fluid vocals from both genders and in both Spanish and English, Tu Mission is a global experience with rich textures and addictive songs you won’t soon forget.

Travels well with: Black Masala- Trains And Moonlight Destinies; Newpoli- Mediterraneo

Heritage

Ropeadope, 2019

8/10

Listen to Heritage

The bi-cultural composer, musician and pianist Mark de Clive-Lowe returns with an album that takes nods at his Japanese roots and was recorded live over 3 nights as well as a studio session, although due to editing it’s hard to tell which is which.

“The Offering” starts with quaint piano sounds and flutes that evolve into a lush affair with cascading beauty, and the horn and percussion sounds of “Bushido 1” follow, where jazz ideas come to the forefront. “Memories Of Nanzenji” brings another track of gorgeous, cinematic qualities with textured sounds and synth and “Mizugaki” recruits spacey ideas and wild saxophone for the most avant-garde tune.

An album of mostly long tracks, “Akatombo”, a childhood folk song, is a quick 2 minute piano journey, and is paired with the longest track, “Niten-Ichi”, which carries a dramatic quality that twists and turns with sophisticated, accomplished musicianship.

Though fans of traditional jazz sounds will find much to embrace here, the Eastern and electronica ideas are what truly make this listen a mesmerizing experience. The first in a two part series, expect Heritage II to be released soon, too.

Travels well with: Taylor McFerrin- Early Riser ; Atjazz- That Something

The Sybil EP

Mutant Cat, 2019

8/10

Listen to The Sybil EP

An all star line up with Oz Noy on guitar, Will Lee on bass, Adam Klipple on keys and Feldman behind the drum kit, the 3 instrumental tunes on this EP explore prog-rock with plenty of wandering into fun, playful avenues.

“Sybil” starts the affair with laid back funk with spirited organs that brings waves of giant, blistering rock. It’s a lively opener, and finds unique grooves amid plenty of complicated music and moves fluidly into the blues and jazz inspired “Swagger”, where warm guitar solos and crisp drumming illuminate the tune. The last track, “Jabber Jaw”, is a bit more feisty, and flows with kinetic energy and some of the most intricate and mesmerizing musicianship from the quartet.

The brilliant Oz Noy penned all the songs here, and Feldman titled them based on the feelings he got from listening to them. The quick listen makes it very apparent that the guys had a blast recording it, and you’re likely to have just as great a time listening to this very meticulous, next level, jam band style EP.

Travels well with: Oz Noy- Who Gives A Funk; Jeff Beck- Wired

Violets As Camouflage

Tone Tree, 2019

9/10

Listen to Violets As Camouflage

If the cover art wasn’t a tip off, Nashville’s Mary Bragg has her work firmly planted in Americana sounds, and Violets As Camouflage is another installment of her forthright, emotive and timeless song craft.

Bragg recorded, produced and engineered this 4th album, and as to expected the songs are entirely her vision, as she moves gracefully from the classic country and aching pedal steel of “I Thought You Were Somebody Else” to the light swing dance playfulness of “Trouble Me Anytime”. Elsewhere Bragg gets cozy with folk-pop on “Fixed”, and her pensive rock’n’roll spirit is evident on tracks like “Runaway Town”.

Though Bragg’s band bring viola, violin, upright bass and plenty of other sophisticated noise makers to the affair, it’s Bragg’s expressive, comforting and soaring voice that really makes the album, and songs like the moody and bare “Fool” really illustrate this.

An intimate, raw and eloquent peek into the mind of an incredibly talented woman, one need not to own a pair of cowboy boots to find themselves fully immersed in Violets As Camouflage; the only requirement is an affinity for gorgeous music with much substance that’s honest and sometimes vulnerable.

Travels well with: Becky Warren- Undesirable; Robby Hecht- Evergreen

Head Control Body Control

Self-Released, 2018

8/10

Listen to Head Control Body Control

A techno and acid house project from French DJ and producer Christophe Monier, the artist draws from his vast experience in the music scene with a varied listen that pulls from present and past ideas, especially the ‘70s.

The album starts with the percussion focused and dark “Le Grand Soir”, where the landscape is constantly changing with unpredictable ideas, before the pulsating “Polymorphous Pervert”, which brings all sorts of ambient noises to the affair and voices are manipulated like instruments.

Monier does recruit some help from time to time, and “Dirt” brings in Mike Theis and Mohini Geisweller for a mix of restrained and flourishing dance rock, while “Ceremonie” hosts Dew Town Mayor for a beat heavy excursion into buzzing, electronic aberration.

Other highlights include “Acid Party”, a 9 minute journey of techno exploration with vocals and a template you can’t help but move your body to, and the indie-rock influenced “Share”, which also yields pop moments and pretty singing into a universally embraceable dance tune.

Though this is the 3rd album from The Micronauts, it’s the first in a decade. This installment took 3 years to craft, and it shows in the rich, eclectic and meticulous delivery, as Monier turns house, electronica and techno into a refined science that few, if anyone, could emulate.

Travels well with: The Chemical Brothers- Born In The Echoes; Fluke- Puppy

Dark Sight Of The Moon

One Little Alien, 2019

8/10

Listen to Dark Sight Of The Moon

Originally from the UK but now residing in San Francisco, Micropixie’s indie and electronic ideas on Dark Sight Of The Moon brings unique psych-pop tendencies to an affair she describes as ‘Tripadelica’.

“New Year’s Day”, the 2nd track but 1st tune, brings us into a mysterious atmosphere that’s full of beats, violins, and organs, among others, for a textured journey, and “Como Minimo” finds us entering calmer areas of groove heavy territory with playful pop moments. Though there are 15 tracks here, 6 are interludes, and are essentially brief bouts of sonic noise using rhodes, synth, beats and sometimes even incorporating spoken word.

The lone cover is Blur’s “The Universal”, where Micropixie retains the intricate and highly melodic delivery of the original with layered vocals, though the album highlight is certainly “Trees”, with its mysterious setting, twinkling keys and soft vocals as the clarinets and mellotron bring a sophisticated backdrop. The title track and closer is certainly noteworthy for its ambient ideas and cinematic quality that’s dark yet playful and soothing yet a little intimidating.

The last album in her trilogy of albums that follow Micropixie’s path to earth and the subsequent searching for her true identity, this installment brings a sci-fi feeling to very creative psyche-pop wandering where help from Rob Myers and Ashish Vyas of Thievery Corporation help cultivate a really exceptional experience.

Travels well with: Morcheeba- Head Up High; Shilpa Ray- Door Girl

Reflections

Self-Released, 2018

8/10

Listen to Reflections

A DIY singer-songwriter from Wells, Maine, Mike Stapleton may not be a name familiar to most, but he possesses a keen sense of songwriting prowess on this sophomore album.

“When No One Cares” starts with Stapleton’s deep but melodic vocals against a restrained folk-rock template, and the pretty “Reflections” follows with thoughtful wordplay and an elegant atmosphere.

Mostly, Stapleton hovers near his strengths, and tunes like “Anxiety Builds” brings in moodier landscapes, while “Goodwill” takes nods to ‘60s folk sounds in all the best ways. Deeper cuts like the hypnotic “Burn A Hole” bring us intricate guitar work and a timeless memorableness, and “Thickly Settled” shakes up his formula a bit with dynamic percussion and unpredictable tempo changes. “Abide” concludes the listen with a pensive and absorbing closer that’s on par with today’s indie-folk.

Stapleton had a busy year in 2018, as Reflections is his 2nd album in 4 months, and he proves again here that he’s got a raw talent for universally embraceable tunes with his unassuming song craft that he’s even offering as a free download at his Bandcamp.

Travels well with: Tom Waits- Closing Time; Bob Dylan- The Freewheelin’ Bob Dylan

Unifony

Butler, 2018

8/10

Listen to Unifony

An improv rooted and timbre-inspired collaboration between indie songwriter and film composer Minco Eggersman and engineer Theodoor Borger, the Dutch pair bring on trumpet extraordinaire and Norwegian Mathias Eick plus other guests for a very accomplished and engaging listen.

Primarily a gentle and ambient experience, the players each take their time in the spotlight, as songs like the trumpet fueled “Drive” elegantly illustrate, while “Whisper” showcases keys from a graceful angle. “Hunt”, one of the best selections here, brings jazz ideas into a haunting and gorgeous meshing of light and dark textures, making the most out of just the few instruments in attendance.

Certainly a cinematic, minimal and sometimes post-rock influenced affair, while tunes like “Glow” are mysterious, even ominous, deeper cuts like “Heather” bring agile strumming to a mesmerizing beauty of calculated interplay between the esteemed musicians/

Even though the album is extremely precise, it unfolds with a spontaneous feel where vintage instruments and the intricate recording process take nods to the ‘80s and allows each song to wander on its own journey with a unique destination.

Travels well with: Brian Eno- The Drop; Talk Talk- Laughing Stock

Better Late Than Never

Rum Bar, 2019

8/10

Listen to Better Late Than Never

Boston’s Nat Freedberg has a long lineage of musical output with bands like The Upper Crust, The Clamdiggers, The Titanics, and The Flies. On his own he takes the experience of his lengthy career and packs it into giant rock sounds where blues, Americana and garage rock all appear in abundance.

“Devil Rockin’ Man” starts with gospel influenced garage rock amid soulful harmonies, and “Better Late Than Never” moves closer to punk sounds- something Freedberg is quite familiar with- with hypnotic melodies. “Only Takes A Minute” slows the pace down to a cautious moment, while “All My Love”picks up the pace and is another sturdy rocker, and “If I could Be The One” illustrates some classic rock influences to Freedberg’s gritty formula.

The 2nd half is equally impressive, with the more forceful “World To Come”, the eclectic “Madame Butterfly”, which could have been recorded in any decade since the ‘70s, and the ballad-esque “If That’s The Way You Want It”. Freedberg gets swift again on the feisty, raw “Queen For A Day”, and he exits on the shuffling country rock of “Heavy Metal Cow”.

Better Late Than Never almost never happened after Freedberg suffered nerve damage to his hand and the resulting surgery left him unsure about playing guitar. Fortunately for us, he persevered and was able to craft this hook filled affair that is a career highlight- and that’s saying an awful lot when you peruse his life’s work.

Travels well with: The Upper Crust- Let Them Eat Rock; The Titanics- The Titanics

Whom The Sea Will Keep

Self-Released, 2019

8/10

Listen to Whom The Sea Will Keep

5 tunes from the mind of Eugene, Oregon’s Jacob Thomas Berns appear here, and even though all songs sit somewhere in the area of folk, the subject matter is as wide as ghosts, whales and disappearances.

“Swift Ships” starts the calm affair with a warm, cinematic feel where dual gender vocals and lush arrangements set the mood, and the more sparse “A Dead Whale Or A Stove Boat” follows with a darker, plaintive feel.

The best tune is on the backside of the listen, as “Joshua Slocum Sets Sail” brings in keys, banjos and and gentle melody for the tragic folk tune, and the quick EP exits on the raw, acoustic based “Lanterns And Whalebone”, where vocal melodies highlight the mesmerizing and expansive closer.

Recorded over ten years with all 3 players living in different cities, though The National Lights have been on hiatus for 12 years, these new tunes are proof that their creative juices are still flowing with thoughtful, pensive, timeless ideas.

Travels well with: Iron & Wine- The Sheperd’s Dog; Blind Pilot- We Are The Tide

Crazy All By Myself

Vizztone, 2019

8/10

Listen to Crazy All By Myself

A blues virtuoso from Kansas City, this time around Nick Schnebelen goes into the studio (he past 2 records were live) and brings members of Taj Mahal’s Phantom Blues Band along with him.

“Lil’ Death” wastes no time getting right into bluesy riffs with backing female vocals and organs on a moody rocker, and “It Ain’t Me” punctuates the atmosphere with a mid-tempo affair. “Ain’t Got Time For The Blues” brings the pace up with jumpy keys and a fiery honky tonk, piano rocker, and “Crazy All By Myself” keeps the piano in attendance but recruits a soulful setting that’s cautious.

The middle of the album is home to some of the best tunes, especially the sturdy rocker and harmonica fueled “Altar Of Love”, the aching balladry of “Bad Disposition With The Blues”, and the strong guitar work of “Bad Dream”.

The end of the album has Schnebelen spreading his wings into soft-rock territory with the FM dial friendly “Soul Magic”, the romantic and vocally expressive “I Leaned My Heart On You”, and the tempo shifts to swift again with “Out Of Bad Luck”, another key heavy and muscular rocker.

Somewhat surprisingly, this is Schnebelen’s first studio album and he hits it out of the park with a listen that runs the gamut of blues with proficient musicianship and immediately memorable song craft.

Travels well with: Trampled Under Foot- Badlands; Patrick Sweany- Close To The Floor

Hellebores

Sun Pedal, 2019

9/10

Listen to Hellebores

Cleveland has a long history of must hear rock music, but few can parallel the ‘90s fuzzed out, dream pop meets shoegaze of Niights. After a well received debut in 2015, this sophomore album brings a greater chemistry from the quartet, with plenty of post-rock ideas in the very eclectic equation.

After a quick intro to set the mood with dreamy, atmospheric meandering, “Generator” gets right into the affair with ethereal female vocals from Jenna Fournier and sugary shoegaze sounds. Things take a shift into indie-rock stylings with the charged “So Into You”, and “Trail Of Blood” offers us soft and sweet pop ideas that build into fuzzed out guitars and sonically loud moments.

The middle of the album offers the ultra dreamy “Stars”, the stunning crunchy alt-rock of “Keystone”, and the similarly loud and reverb drenched “It Was”, showing an affinity for the early days of alt-rock.

Things change drastically as we get into deeper cuts, starting with the sludgy, metallic instrumental “Hellebores”, before the 11+ minutes of the doom, prog-rock “With Bated Breath” where harmonic vocals collide with an ominous backdrop that occasionally ebbs into calm. And though the last few tracks are quite turbulent, riveting and incendiary, the album closes on the acoustic “Caterpillar” which is a sparse, indie-folk exit.

A record that somehow brings to mind Black Sabbath, My Bloody Valentine and Dinosaur Jr., Hellebores is punk, metal, indie and psyche-rock as well as touching on many subgenres within those categories, and just might be the best album you’ve heard this year.

Travels well with: Smashing Pumpkins- Siamese Dream; Slowdive- Pygmalion

Crossroads

Springstoff, 2019

8/10

Listen to Crossroads

A very creative collaboration between Suz, who is Susanna La Polla De Giovanni, a Bolognian singer and composer well versed in Trip-hop, and Obsqure, a Tunisian composer, DJ and producer, and together the pair bring us back to the sounds of the ‘90s with their unique, inimitable songwriting prowess.

“Brave New World”, the first single, brings a dark electro-pop sound to the setting with a dense beat and gorgeous interplay between the noisemakers, where smooth vocals punctuate the affair, while “Land Of The Free” is a downtempo, laid back affair with warm grooves amid an elegant atmosphere.

“Wisteria Vine” brings the album into a melodic, hazy, environment, and “A Passage To Tunisia” places us back into throbbing electro-pop textures with middle-eastern ideas mixed in, undoubtedly at the direction of Obsqure. An album largely devoted to instrumentation, “Open Flame” is a vocally expressive track with a quick pace and playful sounds, and “Chaos Chaos” ends the listen with experimental poking and prodding that’s equal parts Trip-hop and soaring indie-tronica.

A very cultured and adventurous journey with ambient, cinematic detail, Crossroads is must hear album for anyone with an interest surrounding Trip-hop or who finds joy in outfits like Sigur Ros, Odesza or Clams Casino.

Travels well with: Portishead- Dummy; Massive Attack- Mezzanine

Opium Moon

Be Why, 2018

8/10

Listen to Opium Moon

A Los Angeles outfit who are so skilled they won a 2019 Grammy for this debut self-titled album in the category of Best New Age Album, all 4 members of Opium Moon have lengthy careers in scoring film and TV, and bring their respective talents to a very unique and enlightening listen.

“Gravity = Love” starts out with 10 minutes of ambient sounds with a mysterious atmosphere where vocals are used like an instrument as the santoor, violin and steady percussion guide the tune. “Drunk With The Great Starry Void” follows and could be an EP itself with 17 minutes of exploration which travels across many moods, and “How Can I Pray When The Beloved Is All I See” brings the outfit into hypnotic and meditative territory.

The rich listen ends on the emotive and orchestral influence of “When I See You Naked I Smell The Earth”, and the playful bass lines of “Caravan” that builds into a cinematic effort that pushes and pulls with graceful tension.

With members from Iran, Israel, Canada and America, it’s a global affair and the music follows suit wth a cultured, sophisticated and very peaceful journey where Lili Haydn’s outstanding violin and vocal work really complements the exquisite interplay present.

Travels well with: White Sun- White Sun II; Snatam Kaur- Beloved

An Ocean To Swallow

Self-Released, 2018

9/10

Listen to An Ocean To Swallow

The sophomore album from this Portland, Oregon outfit have the 5 members striving for new levels of creativeness across 10 tracks that sonically soar and make ideal use of both organic and electronic sounds.

“Sentimental Strangers” starts off with a mashing post-punk ideas with modern electro-pop, somewhat like an updated version of New Order, and the warbly synth and ‘80s influence of “Reveler” follows with experimental ideas.. Things slow down with the restrained yet playful “Bahn Mi”, and “Weighing Feathers” brings in a similar spirit with some pop influence to a ballad like atmosphere.

The second half of the album is even better, with the mysterious and mesmerizing “The Wheel”, the punchy indie-rock of “I Can Wait”, a track so memorable it’s worth the price of admission by itself, and the textured, lush “Phantom”. The band bring all their strengths together on the closer “Scissor Race”, where acoustic guitars, swift percussion and a warm but adventurous spirit punctuate the highly accomplished affair.

Pacific Mean Time originally began as a power pop ensemble called Little Beirut, but after some line up changes and a shift in focus this new vehicle began and we’re all better off for it. If you’re someone who often dismisses modern music as derivative and uninspiring, you’d be wise to pick up a copy of An Ocean To Swallow, as it’s a fine example of stunning, contemporary, multifaceted rock.

Travels well with: Dana Buoy- Ice Glitter Gold; Ski Lodge- Big Heart

Island

Self-Released, 2019

8/10

Listen to Island

A renaissance man, in addition to penning tunes for 4 decades now, Pete Berwick is also an actor and accomplished author as well. Island, his sixth album, comes with his esteemed backing band The Mugshot Saints helping flesh out this Americana experience.

“I’m Gettin’ Tired Of This Place” starts off the listen with a rugged and rockin’ alt-country tune with a harmonica solo, before “Anyway” brings the mood to a calmer place with a lush, expansive sounds and keys to help set the mood.

Berwick’s got a knack for combining gritty atmosphere with dense melody, and songs like “Just Make It You And Me Tonight” exemplify this well, while the gorgeous “One Set Back At A Time” is heavier on the side of warm melody, “I’m Really Not That Kind” is a rugged, darker, roots rocker.

Mostly, though, Berwick sits comfortably in the early days of alt-country with playful tunes like “The Sooner I Let Go” which recruits female backing vocals, and the shuffling acoustic “Nothing”, a tune so well written it’s worth the price of admission alone.

A heartfelt listen of songs that embrace all that we love about Americana, if names like Petty, Earle and Tweedy mean anything to you, Island will fit nicely in your collection.

Travels well with: Whiskeytown- Strangers Almanac; Uncle Tupelo- No Depression

There Is Another World

Righteous Babe, 2019

10/10

Listen to There Is Another World

A Wisconsin folk singer with three decades of honing his craft and now 18 albums in his catalog, Peter Mulvey is a poet and storyteller who knows how a pick a guitar with the best of them, and his music is often cathartic with vivid, eloquent wordplay.

Generally with a minimal approach and detailed attention to mood, Mulvey uses spoken word on the atmospheric opener “The Fox” and again later on the closer, “Owl”, alongside its hypnotic presence and aberrant noises, and in the middle he offers the one line, fleeting, piano based, “Nickel And Dime” that manages to leave a lasting impression in just a 15 second running time.

Even though he’s armed with a baritone voice, Mulvey still makes sweet songs out of the pedal steel and acrobatic picking of “Whos Gonna Love You Now?” while the melancholic strings of “Fool’s Errands” and swift singing flow with warm familiarity. Where Mulvey really shines, though, is the soaring, ebullient “To Your Joy” where he howls introspectively and radiates restrained beauty with so much riveting, raw emotion.

An artist who got his start busking in Ireland, though he certainly has a devoted following, the unparalleled talent here should truly be universally embraced as I feel quite confident saying that Peter Mulvey is one of the most luminous talents of this generation.

Travels well with: Iron & Wine- Our Endless Numbered Days; Erin McKeown- Manifestra

Man Made Fire

Self-Released, 2019

8/10

Listen to Man Made Fire

A Franco-American songwriter and multi-instrumentalist, though Petite Celine has dabbled in folk-rock recently, this time around she’s got her finger on the pulse of pop music for a very worldly listen of sounds and styles on Man Made Fire.

“We Were All Good Kids” starts with layered vocals and a frisky spirit, and “Explorame” brings a less busy tune with some folk-pop ideas. “Qui Sommes Nous” is where the world music aspect becomes more apparent, as Celine sings in French with Brazilian drums and “No No More” gets soulful and groove friendly, showing another avenue of her talent. One of record highlights, “Man Made Fire”, brings us into an elegant atmosphere where mood is key and electro-pop ideas are in attendance.

The 2nd half of the album is even more diverse with the piano led and string backed “Cartographers”, the horn wielding, bi-lingual “Jezebel” and the very unique carnival sounds of “The Great Unknown”, where a bouncy tempo, tubas and steel pan make this immediately fun and unforgettable. The album ends on the most sparse offering, the soft and breathy “Tigre Fondant”, a lullaby sounding exit that’s intimate and dreamy.

Formerly a homeless busker, this very versatile album has a mass appeal that would fit in at dance clubs, on the FM dial or could easily strike a chord with the indie-rock crowd. A listen that unfolds like a woman coming into her own, Celine brings us on a global adventure that you won’t soon forget.

Travels well with: Francoise Hardy- In Deutschland; Ginkgoa- One Time

Live

Sol Creation, 2019

8/10

Listen to Live

An artist with a unique upbringing in that Porangui has roots in Brazil, Mexico and the US, the one man outfit is used to making music spontaneously, never using a set list, and this live album illustrates his looping skills and world fusion ideas.

“Ganesha” gets off to a mesmerizing start with multiple voices chanting before loud percussion and spoken word enter, and each of the 6 additional tracks offers very different patches of Porangui’s vision. “Tonantzin” sounds like it could soundtrack a party around a fire in an exotic land, and “Oxum” is a playful, exquisitely layered world music stunner.

The 2nd half of the listen gets even more unclassifiable with the flute heavy, mysterious “Danza Del Viento”, the string acrobatics of “Canto De La Selva”, which then gets dreamy with some of the best singing on the recording. “Stardust” finishes out the journey with Porangui’s version of prog-rock that’s light and ethereal, yet also sonically engaging.

A very unique meshing of electronic manipulation, unorthodox age-old acoustic instruments and plenty of vocal techniques, Porangui’s solo orchestra approach is an enlightening and eye opening hour of very compelling music.

Travels well with: Desert Dwellers- The Great Mystery; Liquid Bloom- The Face Of Love

Afterlife

Bar None, 2019

9/10

Listen to Afterlife

Quite possibly the originator of bedroom recordings, R. Stevie Moore has made more albums than one can keep track of (he’s well into the hundreds), and they’ve all been DIY efforts from his ultra-creative mind. Though he’s never achieved commercial success, Moore has influenced countless artists in the area of post-punk, spoken work, power-pop and experimentalism, and Afterlife is certain to inspire legions of others, too.

“Irony” starts the album strong with a jangly folk-rock meets a classic rock feeling, where Moore’s breathy singing settles in nicely, and “Pop Music” follows as Moore plays all instruments and sings the quirky pop tune that’s charming yet eccentric.

Some cameo appearances are included, and on the bright, sunny rocker “Come My Way” Ariel Pink lends his smooth vocals and Jason Falkner handles drums, guitars and backing vocals, and later on Lane Steinberg contributes vocals and acoustic guitar to the ‘70s pop influenced “What Do I Do With The Rest Of My Life"?”.

At 14 tracks there’s much to absorb here, although Moore makes it an easy task with much variety like the percussion heavy and prog-influenced “National Debate”, and the indie-lite, acoustic “You Don’t Have To Worry About My Love”. The album highlight, though, is easily the feisty lo-fi fun of “Another Day Slips Away”, another tune where Moore handles all instruments and vocals.

If you’ve never heard Moore before, this is as great a place to start as anywhere. Now nearing 70 years old, his approach to songwriting is still as unique as ever, and his melodies are atypically enjoyable, especially if you embrace the lo-fi template.

Travels well with: They Might Be Giants- Flood; Sebadoh Weed Forestin’

Our Country: Americana Act II

Legacy, 2018

9/10

Listen to Our Country: Americana Act II

The co-founder of The Kinks returns with the always magnificent The Jayhawks backing him up as he pens an album based on his vision of America. Somewhat serving as a sequel to 2017’s Americana and a soundtrack to his 2013 memoir, Davies brings a lifetime of talent and experience to this very accomplished listen.

A master story teller throughout his entire career, here the stories are about himself, as we get insight into incidents like being shot in New Orleans, The Kinks being banned from playing in the U.S., and generally musings from a life lived on the road. In the place of the power chords he built his fame on, instead we get warm, pensive melodies from the all star ensemble.

As to be expected, The Jayhawks impress with their work here. While “Back In The Day” is ultra stylish, retro-rock, “Bringing Up Baby” sits comfortably in their well known lush, folky, Americana ways. Things do head into louder rock’n’roll territory on the spoken word “The Take”, though most of the album is on the calmer side of the equation, as tunes like the piano heavy “A Street Called Hope” illustrate. Though their isn’t a bad tune to be found, the big band influence of “March Of The Zombies” is hard to deny as one of the best tracks present.

While Davies was born in England, the album traces his experiences through America, the country that provided much of his early inspiration. Now in his mid-70s, though his life and pace may have slowed down, he proves he’s still a first rate songwriter with a knack for telling a story across these 19 pieces.

Travels well with: Jon Langford- Four Lost Souls; The Waco Brothers- Going Down In History

Sweet Release

J&R, 2019

9/10

Listen to Sweet Release

A Rock & Roll Hall of Famer who’s had a 5 decade career and collaborated on over a hundred releases, Sweet Release is actually the first time blues keyboardist Reese Wynans has recorded as band leader. Like always, Wynans surrounds himself with immense talent, as Sam Moore, Kenny Wayne Shepherd, Chris Layton and many more are in attendance.

“Crossfire” starts out the album strong with warm organs, bluesy guitars and emotive singing, and this continues into the guitar acrobatics and percussion heavy instrumental “Say What!”. “That Driving Beat” then brings saxophones into a rollicking affair that’s full of funk and R&B, while “You’re Killing My Love” brings us a soulful and cautious moment.

The middle of the album offers the acoustic, warm ballad “Sweet Release”, where Vince Gill, Keb Mo and others contribute their pipes, the honky tonk fun of “Shape I’m In”, and the absolutely mesmerizing “Hard To Be”, where horns, keys and guitars collide with at a melodic, groove filled highlight.

Late noteworthy tunes include the fluttering keys and raw recording of “I’ve Got A Right To Be Blue” and the elegant closer, “Blackbird”, a classic by The Beatles, which is just Wynans and a piano.

Not only does Wynans shine on his first solo album, but this is Joe Bonamassa’s first time producing a record, and, of course, it was done so flawlessly, finding a nice medium between spontaneous and live versus studio magic. Included is a 16 page booklet, making this the total package for all fans of blues rock.

Travels well with: Joe Bonnamassa- Redemption; Boz Scaggs- Middle Man

Cut To The Bone

Double R, 2019

9/10

Listen to Cut To The Bone

A renaissance woman with an impressive resume in and out of music, though Nashville’s Renee Wahl has spent plenty of time with physics, the Air Force and teaching, she’s also highly skilled at playing Americana music with the perfect balance of grit and gorgeousness.

The sophomore album starts with the dark and raw “Cut To The Bone”, which sets the tone for the remainder of the album, as “Cold Day In Memphis” gets closer to country sounds with spectacular singing, while “Me Before You” finds the songstress getting near indie-folk territory with brushed percussion and warm, ballad like melodies.

The middle of the album brings the lush, rustic, twang ideas of “Temptation”, the album highlight, “From Here To There”, which moves with an emotive spirit and beautiful interplay between the band, and one of Wahl’s most forthright tracks, “Meds”, which takes nods to classic country with somewhat humorous wordplay.

Wahl ends strong with the soulful and cautious “Six Days Til Sunday”, the introspective “In The Field” and she exits on the playful indie-rock influenced “What You Need”.

A very heartfelt, open and personal installment of tunes, Wahl’s in great company with her all star band, and the songs here unfold with much power, sincerity and an adventurous quality and will undoubtedly make this one of the year’s best records.

Travels well with: Rosanne Cash- The River & The Thread; Neko Case- Middle Cyclone

The Power Of Rock’n’Roll

Vega, 2018

9/10

Listen to The Power Of Rock’n’Roll

A Canadian outfit with over 25 hit singles in their home country starting in 1991, The Power Of Rock’n’Roll has the band doing what they do best- running the gamut of rock influenced sounds with precision and fun.

The title track starts the listen with powerful riffs and great sing-alongs that illustrate the timeless spirit of the band, and things stay equally energetic with keys, horns and the percussion heavy “That Girl”.

The Respectables shine bright on the quick paced and party vibe of tunes like “The Shotgun Seat”, as well as the classic rock inspired “Give Some”, while the spoken word mixed with bluesy singing of “Wheel In My Hand” is nothing to spit at either.

Late album highlights include the orchestral strings and moody backdrop of the ballad “As Good As Love Gets”, the country rock fun of “18 Wheeler”, and the acoustic folk-rock prowess of “Limousine”. “Highway 20” finishes out the listen with a lush Americana masterpiece that achieves a greatness similar to The Jayhawks.

A record where each instrument is showcased to its fullest potential, The Power Of Rock’n’Roll it not only well written and superbly executed, but just sounds so raw yet pristine with an uncontained energy that is utterly impossible not to love.

Travels well with: Cheap Trick- We’re All Alright!; The Replacements- Pleased To Meet Me

Deal With It!

Metalville, 2019

9/10

Listen to Deal With It!

On the fourth album from these long running German metalheads, but first with the Metalville label, Rezet retain their classic metal influences but also illustrate a more mature angle to their timeless speed and thrashy sounds.

Although “Behind Glass” gets off to a calm acoustic guitar fueled start, “Treadmill” blasts us into charged riffs, thundering percussion, and biting vocals that brings us back to the gritter side of ‘80s metal, and “Deal With It!” continues the onslaught with more aggressive vocals and thrash metal tendencies, plus a great chorus.

The band certainly don’t hide their influences, thankfully, and tunes like the driving “No Plan B” are reminiscent of the best days of Megadeth, while “Thunder Raiders” throbs and bristles like any number of your favorite Anthrax hits.

Late album highlights include the riff heavy “Chaos In Mind”, where a dense atmosphere breeds grooves, too, while “MDPV” brings sing-along choruses to a quick paced thrasher. “Spiral Down”, the fastest tune here, is a perfect metal tune that roars with metallic energy and raw melody, and the album exits similar to how it starts, with an acoustic ballad turned cryptic hard rocker of “Pile Of Shards”

As someone who was fully immersed in the thrash metal scene in the ‘80s, I feel quite confident saying that Deal With It! holds its own against classic albums like Fabulous Disaster (Exodus), or How Will I Laugh Tomorrow When I Can’t Even Smile Today (Suicidal Tendencies), and may even trump them lyrically as Rezet take the high road politically here. If you were ever glued to Headbanger’s Ball, you simply need to hear this record.

Travels well with: Testament- Practice What You Preach; Helloween- Walls Of Jericho

You Could Be Home Now

Pop Up, 2019

8/10

Listen to You Could Be Home Now

A band where most members reside in Hamburg but with the vocalist in Los Angeles, Rhonda is fronted by Milo Milone, whose stunning pipes bring a flourishing neo-soul sound with plenty of pop, psychedelic and rock elements to the affair.

“Morongo Road Pt. 1” opens up the album with a mysterious and atmospheric instrumental, and “Baby” follows where we get to hear Milone’s soulful and expressive vocals alongside a rhythmic, lush tune. “Habits” then brings in chunky bass and fuzzed out guitars with a strong, garage rock flavor, while “Couldn’t Say Yes” yields a darker quality that’s no less mesmerizing with plenty of percussive fun.

The back half of the album is just as fluid, with the organ filled and deep male vocals of the sweet “Saturdays Shine” and the soul ballad “So Wrong”, where Milone’s voice really shines with flawless execution and an impressive range. Near the end “I Do” illustrates another level of Rhonda’s creativity with a hypnotic, cinematic and melancholic tinted stunner that swells with melodic tension.

Malone recorded her vocals in a garage in California while the rest of the band tracked their portions across the pond, but the sound is so crisp and lively, it seems like Rhonda are playing right in front of you. Looks like You Could Be Home Now is already making a dent on the German charts, and us westerners would be wise to familiarize ourselves with these neo-soul sensations.

Travels well with: Amy Winehouse- Back To Black; Mndsgn- Snax

Dos Hombres Wanted

Vizztone, 2019

8/10

Listen to Dos Hombres Wanted

Rockin’ Johnny Burgin brings his Chicago rooted guitar chops and soulful pipes while Spanish big band leader Quique Gomez brings his harp and vocals for this global collaboration where international blues come to life across 12 originals and 2 covers.

“Your Charm Won’t Help You” starts off with Burgin'’s spirited guitar licks and wise vocals, before Gomez takes up vocal duties on the rockin’ “Take It LIke It Is”.

The pair divide up the spotlight fairly evenly, and on Burgin fronted songs like “Coffee Can Blues” they find a slowed down, groove filled setting, while “Everybody Loves My Baby” is blues at its finest with a layered, busy atmosphere.

Gomez shines on the Spanish sung and influenced “Otro Hombre”, and the dusty, shuffling pace of “Don’t Blame Shorty” closes out the album perfectly with graceful yet playful ideas. The best of the best, though, is the trombone and accordion friendly “Step It Up Bro”, which puts a fun twist on a old school sound with a harmonica solo to boot.

A very fun, ultra stylish and sometimes jazz influenced take on Chicago blues, this global interpretation is well worth several spins and hopefully is an indication of future music from these 2 legends.

Travels well with: Bob Margolin- Bob Margolin; Joe Bonamossa- Redemption

Beats Of Zion

Six Degrees, 2019

8/10

Listen to Beats Of Zion

On his 7th album, international musician, humanitarian activist and recent Grammy nominee Rocky Dawuni returns with 13 tracks of sounds that embrace his Ghana heritage with more adventurous avenues of afro roots music.

Certainly a listen that brings much in the way of reggae, songs like “Wickedest Sounds” recruits horns in the best ways with call and response singing and an unforgettable groove, but the real star of the show is the rhythm and melody that permeates the entire album. Songs like “Let’s Go” are great examples as they spotlight thriving melodica and spirited bass lines with a jubilant vibe full of positive feelings.

Dawuni’a African roots are at the forefront on tracks like the multifaceted “Kyenkyen Bi Adi Mawu”, which features Sarkodie, and the lively cumbia tune “Freedom Train”. And although the album is primarily quick paced, “Turn It Up” shifts directions that takes nods at ‘70s soulful sounds, illustrating another level of his creativity.

An artist who was named by CNN as one of ‘Africa’s Top global stars’, the opening track, “Beats Of Zion”, cements this notion with a soaring anthem complete with bright percussion and majestic horns, and Dawuni’s vision and themes of global unity certainly make him an artist with a conscience and an ability to connect with people on a social, political and spiritual level.

Travels well with: Ziggy Marley- Love Is My Religion; John Brown’s Body- Fireflies

As Long As I Have You

Republic, 2018

9/10

Listen to As Long As I Have You

The 9th album from Roger Daltrey may not have seen the light of day if it weren’t for Pete Townshend, who handles guitar duties on the bulk of the tracks here. Other appearances come from Mick Talbot on keyboards and Sean Genockey on lead guitar, as the ensemble reinvent tunes from Stevie Wonder, Nick Cave and many others, and, of course, Daltrey originals appear, too.

The title track starts the album with rollicking retro-rock fun, before the acoustic guitar fueled “How Far”. “Where Is A Man To Go?” brings us a cautious piano work, while “Get On Out Of The Rain” is a full, explosive soulful tune with plenty of backing vocals and a horn solo.

The second half is equally compelling, where “into My Arms” brings sparse piano with Daltrey’s inimitable pipes, and “You Haven’t Done Nothing” yields a loud, rhythmic affair. The 1956 tune “Out Of Sight, Out Of Mind” is a emotive, R&B offering with exceptional brass and “Certified Rose”, a Daltrey tune penned for his daughter, is one of the best with remarkable singing that would have also fit The Who well.

An album that takes nods to Daltrey’s formative years in the ‘60s, though the 74 year old icon has a more ragged voice, he can still carry a tune with the best, and the soul and gospel inflections here and some excellent balladry amid the busy affair make this a luminous listen.

Travels well with: Ray Davies- Our Country: Americana Act II; Dave Davies- Decade

Russian Twists

Rhyme & Reason, 2018

8/10

Listen to Russian Twists

The post-punk, jazz instrumental trio return with 2 tracks of their genre defying, experimental, post-everything approach that’s as spellbinding as it is irresistible.

Side A brings us “Russian Twists”, a moody and playful tune where chunky bass lines meet a jagged approach that’s melodic, unpredictable and unclassifiable. Side B offers “Maystadt Process (BKGD Audio DD&G Remix)”, a cautious, ethereal and cinematic track that’s mysterious and buried in alluring haze.

John Leon, Gerard Smith and Lyle Hysen have already done excellent work in bands like Das Damen, Phantom Tollbooth and Roky Erickson’s band, but their chemistry as TRAI is undeniable, as they’ve already proved on 2017’s The French Method, and that’s further cemented on this brief but stunning installment.

Travels well with: Regulator Watts- No Mercury; The Messthetics- The Messthetics

Leave With The Season

Self-Released, 2019

9/10

Listen to Leave With The Season

Perhaps one of the most interesting modern outfits from New York City, Semaphore may initially seem like an alt-rock and shoegaze band, but when one digs a bit deeper there’s punk, jazz, grunge and hardcore to be found on this highly attractive and alluring EP.

“Unreliable” starts with an experimental blend of indie-rock where punk, jazz and post-rock ideas are present in an incredibly catchy fashion, and “Convergence” follows with a curious blend of soothing rock meets blasts of furious metallic rage. “Pie” then goes the opposite direction into atmospheric prog-rock avenues that move into spaced out sounds with ambient loops.

The last 2 tracks continue the widespread exploration present. “Leave With The Season” brings back the heaviness with thundering post-hardcore meets melodic punk sounds, and “Didn’t You Dream?” pulls in slight pop-punk moments into a soaring, punchy, anthemic closer.

Leave With The Season recruits influences from every decade since the ‘70s, and places them into 25 minutes of some of the most exciting music in recent history. Whether you’re partial to Pink Floyd, The Deftones or even ‘90s rock, these 5 tunes will grab ahold of the recesses of your mind and not let go.

Travels well with: Minus The Bear- Planet Of Ice; Far- Water & Solutions

Lightspeed!

Self-Released, 2019

8/10

Listen to Lightspeed!

For over a decade now, Ian Hummel and company have been making Emmy Award winning kindie-rock as The Shazzbots, and Lightspeed! brings us their 3rd album of rock’n’roll that’s giant, fun and filled with stories about space pirates, aliens and general curiosity.

“On The Playground” starts things loud with vibrant rock and strong singing with some honky tonk fun, though it isn’t long until the outfit are sitting in country territory with the swift and playful “If You Knew Yuri Like I Know Yuri”.

The Shazzbots covers lots of ground here, as “Chuggin” brings in Americana flavor with harmonicas, while “Snow Day” heads right into sunny pop territory that highly ‘70s influenced. Elsewhere, “Read A Book Today” recruits harmonizing backing vocals, and the eclectic listen ends on the elegant piano ballad of “Very Very Vivian”.

With the core of the band being together for their entire duration (Hummel’s wife Dianne is a recent addition), there’s an undeniable chemistry here, and though the subject matter is certainly steered towards the young ears, the music here is absolutely for the parents and borrows from the ‘60s on in delightful, nostalgic and very memorable ways.

Travels well with: Animal Farm- We Are One, Mr. Dave- Feeling Good

Some Good Lives

Dutch, 2019

8/10

Listen to Some Good Lives

The Portland indie-folk sensations return with a 4th album of their stunning vocal harmonies and dreamy sounds, and identical twins Laurie and Katelyn Shook recruit a full band that helps the twins expand into different, exciting territories.

It doesn’t take long for us to see that the twins are expanding their wings as “What Have We Done” gets off to a soulful and R&B spirited start, before the bare and vocally harmonic “Safe”, which brings warm, bluesy guitars. Things stay consistently rich and versatile through the entire listen, with the alt-folk of “Figure It Out”, and the soft and angelic “Stay Wild”.

Some of the best tunes present are the stripped back kind, such as the mysterious and alluring “Vessels”, while “Wantlove” starts sparse before blossoming into the most pop friendly moment on the album. Deep tracks like “Buoy” brings us to a groove filled highlight and the record ends on a 30+ year old recording of “Dog Beach”, a tune made by their late grandfather where the twins add their own call and response tribute to the raw recording.

An effort that’s often about people- many who are close to the twins and no longer living- Some Good Lives is also dedicated to Bernie Sanders and much like the politician’s revolutionary ideas, these young woman are putting a daring twist on indie-folk with grand results.

Travels well with: Andrea Von Kampen- Old Country; Greensky Bluegrass- Shouted, Written Down & Quoted

The Pact

Dangerbird, 2018

9/10

Listen to The Pact

An alt-rock outfit originally from Boston with a penchant for the sounds of the ‘90s, Slothrust’s 4th album, The Pact, brings the trio into new areas of their creativity with a widening of scope of textures and ideas.

“Double Down” gets the album off to a stunning start with massive amounts of distortion and hooks amid a electro-pop influenced fury, as well as the sturdy college rock of the anthemic “Peach”, although it isn’t long until the band move into soothing R&B territory with the groove friendly “Walk Away”.

Other unexpected but welcomed surprises include the saxophones of the eclectic “For Robin”, and the gentle acoustic strumming of “The Haunting”, where front woman Leah Wellbaum’s pipes shine with timeless beauty. However, the band still radiate at louder volumes such as the chugging, thick rock of “Fever Doggs”, or the exploratory approach of the “New Red Pants”, which wouldn’t be out of place on Radiohead’s Ok Computer.

These 3 make some pretty giant sounds here, and it will certainly satiate those who miss the early days of grunge, but their influences are quite vast, and even sparse moments like the album closer “Travel Bug” will impress. There’s been more than a few people heralding Slothrust as one of the most exciting entities in today’s rock music, and after a few listens of The Pact I’m inclined to agree.

Travels well with: Baby In Vain- More Nothing; Smashing Pumpkins- Gish

Oh God Ma’am

Gray Fox, 2018

8/10

Listen to Oh God Ma’am

The Virginia real life band of brothers and actual offspring of Bill return after some personal turmoil with a shift in scope that still retains their mountainous spirit amid some surprising and welcomed influences.

Though the album starts with the keys and melancholic feeling of the ballad “Sweeter, Sadder, Farther Away”, “Firebird ‘85” follows with acoustic strumming and a healthy beat. “Believer/Pretender” is a crisp, ‘80s influenced rock tune that is reminiscent of post-punk outfits but still fits well with today’s version of indie-rock, and though the siblings easily handle the entire affair here, “Easier” brings in Molly Parden for an atmospheric, calm tune that’s a warm duet.

While the first half of the album is quite cautious, moving with calculated tension, “Where We Stand” charges quicker with an alt-rock sort of pulse and “Before The Fall” even brings in electronica for a New Wave influenced highlight that would fit well alongside New Order. “Old And Gray” then takes that lead a little further with a sunnier, pop approach though still with pensive wordplay.

An album that shifts from the acoustic template of their previous work, Oh God Ma’am is the sound of band expanding their horizons into areas that still fit well with their twang tinted sounds, but where hazy, dark moments and retro melodies that seem more suited for Manchester than Virginia appear. Amazingly, this is a listen that sits somewhere between Neil Young and Joy Division, and, really, how could anyone have a problem with that?

Travels well with: Wilco- Yankee Hotel Foxtrot ; The Chameleons- Strange Times

Life Of Compromise

Self-Released, 2019

9/10

Listen to Life Of Compromise

The debut EP for an Omaha talent with Greek heritage, Stathi Patseas handles vocals on all 6 tracks here, and musicians who have played with some very important bands from Nebraska add their own touches on the well written tunes.

“Cache Start” leads the EP with a sturdy folk-rocker with keys, warm, slightly raspy vocals and an overall cozy setting, and “Colorado” follows with cautious instrumentation and breezy melodies in a very thoughtful environment.

The rest of the listen is just as compelling, with the acoustic prowess of “Change Me (Black Screen)”, that bursts into a full roots rocker that recruits violins, and the soft horns of “Angeline” being especially creative. “Let’s All Be The Same” brings Mike Mogis (Bright Eyes) in on mandolin for a hushed indie-folk stunner, and the closing title track has Mogis handling aching pedal steel on a timeless, emotive, Americana gem.

Omaha has brought us handfuls of talent in the areas of softer, lush music in the last couple decades, and we can absolutely add Stathi’s name to that list, too. If anything on the Saddle Creek roster has resonated with you, Life Of Compromise will be a welcomed addition to your collection.

Travels well with: Bright Eyes- I’m Wide Awake, It’s Morning; Simon Joyner- Grass, Branch & Bone

Sprout

Self-Released, 2018

8/10

Listen to Sprout

A Canadian songstress who sounds like she’s got one foot firmly planted in Nashville’s strong country music roots, Stephanie Rose still retains plenty of pop sensibilities across these 6 feel good tunes.

“Sprout” starts the EP out with a light atmosphere and breezy melodies punctuated by banjos and horns, and “Rusted Love” continues with great vocal work and stronger guitar work. “Luxury”, the first single, has Rose sounding like a veteran rather than an up and comer, and aches in all the right ways with pedal steel and strings.

The 2nd half is just as strong, with the upbeat whistling and hand clapping of the playful “Old Soul”, the introspective and moody “Crushed” that’s full of country-rock spirit, and the closer, “Same Old Same Old”, which brings a folky-pop influence into a memorable rootsy rocker.

Rose has already been nominated twice in her home province of Saskatchewan at the Country Music Awards, and if this well crafted EP is any indication, the whole world will be hearing more about this young woman very soon.

Travels well with: Carly Pearce- Every Little Thing; Kacey Musgraves- Golden Hour

Walkin’ Shoes

Pomo, 2019

8/10

Listen to Walkin’ Shoes

Ted Russell Kamp has an impressive resume, with a handful of solo albums as well as time spent playing bass for Shooter Jennings. On this 11th record, Kamp delivers tunes about what he knows best- traveling, personal reflection, and dealing with the modern world, and it’s all delivered with a poetic touch and the sort of skill that takes decades to hone.

“Home Away From Home” starts off with a breezy and melodic tune with twangy country and classic rock tendencies, and “Paid By The Mile” follows with bluesy guitars and jangly folk-rock that’s timeless and impossible not to enjoy.

Though Kamp is adept at fuller rock templates, “This Old Guitar” brings the volume down with pedal steel and an Americana influence, and “We Don’t Have To Be Alone” keeps the setting thoughtful with sublime balladry. The album’s highpoint, though, it just Kamp and his bass on the bare “Highway Whisper”, an intimate and beautiful display of his boundless talent.

Late album highlights include the swift, rural shuffling of “Get Off The Grid”, the organ fun and ageless melody of “Written In Stone” and “Less Thinking, More Drinkin’, which recruits pianos and horns for a rowdy time with some subtle jazz influences.

Kamp doesn’t hide his influences, thankfully, and it’s hard not to think of Bob Dylan, Leon Russell and Willie Nelson when listening to Walkin’ Shoes, though Kamp’s signature stamp puts the listen in a category all its own. An artist who has quite possibly never taken a misstep in his esteemed career, whether you’re a long time fan or a first time listener, you’ll be sure to find much to relish here.

Travels well with: The Band- Stage Fright; Waylon Jennings- Hangin’ On

Deer Keeps Pace

Badman, 2018

8/10

Listen to Deer Keeps Pace

The debut album from this Portland, Oregon quartet brings us careful and unassuming indie-pop, much of which comes from real life experience between Brian Hall (keys, vocals) and frontwoman Amy Hall, his wife.

“Back Yards” starts the affair with a melancholic atmosphere where lush sounds and crisp indie-rock leave an indelible mark, and the driving and elegant rock of “Danger” follows. As we get further along, the soaring vocals of Amy Hall highlight tracks like “Sensations”, while “Light Light Weight” recruits shimmering guitar work and bright synth for one of the best tunes present.

The back half of the listen offers us “Shoulder To Shoulder”, which is a softer moment, the warm guitar licks and electro-rock buzzing of “Modern Things”, which could ignite a dance floor, and the ambient and dense “Lilly”.

While Tents are certainly a busy band, though never in an overwhelming sense, “Deer Keeps Pace” and “Deer Keeps Pace Pt 2” are both stripped back tunes, allowing soulful vocals to shine with minimal instrumentation.

Though the affair is a mature one, Tents have a youthful spirit and exploratory instinct that makes Deer Keeps Pace remind us of younger days while still retaining much sophistication. A valiant first effort, and an indication of monumental work in the future.

Travels well with: Muse- Drones; Editors- The Weight Of Your Love

Cash Cabin Sessions, Vol. 3

Aimless, 2019

10/10

Listen to Cash Cabin Sessions, Vol. 3

There’s certainly a lot of talent milling around Nashville these days, but none of them are quite like Todd Snider. Though he’s made plenty of great rock records lately with Hard Working Americans, here he turns the volume down on an album fueled by his recurring dream with Johnny Cash, as he takes up all the instruments on this very clever and unusually charming listen.

Even though “Working On A Song” starts straightforward enough with campfire-esque, acoustic, folk storytelling that’s wise and playful, the following “Talking Reality Television Blues” gets right into his spoken word and social commentary as he tackles all sorts of historical and current issues with humor, insight and harmonica solos mixed throughout.

When Snider does sing, he does with a gritty harmony in his raspy but tuneful pipes, and songs like “Like A Force Of Nature” flow with a soulful aspect to his folk prowess, while the "The Blues Of Banjo” certainly gets bluesy in a swampy sort of fashion with Snider’s frisky banjo along for the ride.

The 2nd half of the album will have you hanging on every word, too, with the quick acoustic guitar picking of “Framed”, the moody and lush “The Ghost Of Johnny Cash”, and the soft and solemn “Cowboy Jack Clement’s Waltz”. Near the end, one of the louder tunes, “Watering Flowers In The Rain”, brings country and Americana influences into his best singing on the record, and he finishes on “A Timeless Response To Current Events”, where he takes stabs at the status quo with quick spoken word set to folk, blues, and country sounds.

If you’re like me you’ll be so impressed with Snider’s work here that you’ll search for volumes 1 and 2. Well, don’t waste your time, they don’t exist. However, this installment can be played repeatedly and you will surely not tire of Snider’s wit, melody and offbeat, eccentric nature. Or at least, I haven’t yet.

Travels well with: Hamell On Trial- The Happiest Man In The World; Woody Guthrie- The Columbia River Collection

Porch Sessions

VizzTone, 2019

8/10

Listen to Porch Sessions

Just like the title implies, singer and harmonica enthusiast Tony Holiday, along with partner Landon Stone, travelled to the front porch of many of America’s best blues musicians to record these stripped down, casual tunes where they are executed organically and flawlessly in a cozy setting.

“Pick-Pocket Fingers” gets right into the raw blues spirit where James Harman and Kid Ramos help illuminate the intricate guitar work and harmonica fun, and “They Call Me John Primer” follows with swampy sounds where John Primer adds guitar and Bob Corritore lends a hand with his unparalleled harp skills.

Even though the players Holiday has with him usually change from tune to tune, the atmosphere is always rich and spontaneous sounding, from the subdued “Becky Ann” to the soulful and harmonica heavy “Three Way Party”, both of which with enlist Mitch Kashmar and Ronnie Shellist.

The 2nd half of the listen retains the authentic spirit, with the old time recording of “Blues Hit Big Town” with John Nemeth, the rowdy and lush “Tell Me Baby”, and the playful guitar acrobatics of “Goin’ To Court”. The album ends on the cautious “This Time I’m Gone For Good”, where William G. Kidd handles vocals and Ronnie Shellist’s six string punctuate the heartfeltness of the pensive closer.

Traveling to all these porches may seem like a daunting task, but since Holiday plays 200+ gigs a year across the country he made these recordings along the way and it came together as a brilliant concept album that any fan of the blues should devour.

Travels well with: James Cotton- High Energy; Rockin’ Johnny & Quique Gomez- Dos Hombres Wanted

Urbanity

Alfi, 2019

7/10

Listen to Urbanity

The duo of Grammy Award nominated producer and guitarist Albare and Grammy award pianist Phil Turcio, the pair blend their smooth, elegant,(mostly) instrumental formula across 10 tracks of relaxed jazz sounds on this self-titled album.

“Magic Times” starts the calm affair with crisp, flowing instrumentation, before the more experimental ideas of “Time Travel”. While each instrument is certainly highlighted well here, “Bullish” places percussion towards the front, while “Funny Clouds” highlights the detailed, precise guitar work from Albare.

The lone cover, “Desperado”, brings in a breezy island flavor to a classic, and proves the timelessness of the tune even without vocals, and the only song with vocals, “I Say”, has Bernard Fowler contributing pipes on an upbeat and dance friendly offering where Tim Ries lends his tenor sax skills.

An extremely well produced album that’s easy to absorb and flows fluidly from one track to the next, fans of contemporary and smooth jazz sounds will be impressed with this effort.

Travels well with: Lisa Edwards w/Phil Turcio- State Of The Heart; Allan Holdsworth- None Too Soon

instar

Self-Released, 2019

8/10

Listen to Instar

Though this is her debut as Vesper Wood, Christina Wood has been busy as half of the electro-pop duo Kaleida, who have found much success in soundtracking TV and film. Here, with Instar, she takes a turn into indie-folk areas where keys and strings complement the organic and intimate atmosphere.

“Descend” gets off to a chilling start with Wood’s breathy vocals against a brooding atmosphere that brings a haunting orchestral feeling, and “Chain Of Heat” leads with keys and stays reflective and ominous as well.

As the album progresses, the textures become even more developed as “Carson” brings us to a more playful template with expressive singing, while “The Wall” showcases plucked bass lines and minimal percussion. “Yes Is The Truth” finds Wood armed with a piano for an emotive, beautiful highlight.

Late album highlights include the vocal harmonizing of the A cappella “One”, the lush and layered “Black (The Questioner’s Lament)” and the strongest vocal tune, “Homing”, where Wood’s pipes soar and resonate with a timeless beauty similarly achieved by legends like Amos and McLachlan.

Wood’s been dealing with many personal issues as of late, largely surrounding fertility and reproductive hurdles, and Instar reflects that with a pensive, thoughtful display of raw emotion wrapped around very captivating and eloquent music on the softer side of the equation.

Travels well with: Cape Francis- Deep Water; And The Kids- When This Life Is Over

In The Dark

Nettwerk, 2019

8/10

Listen to In The Dark

The Iceland indie-tronica and dream-pop trio return with a 2nd album of their flourishing sounds, and this time it’s a more personal listen lyrically, but still with their bright, pop fueled approach intact.

The title track gets off to a club friendly start with a punchy pop feeling, and “Autopilot” follows and switches gears into an introspective, calmer groove while “Night & Day” recruits synth for an ‘80s vibe that’s vivid, and shimmering in warmth.

As the album progresses, the listen becomes even more interesting with the vocal effects and cautious “Scarcity”, the pulsating electro-pop of “Spend The Love”, and “Erase You” even brings R&B influences to the forthright formula.

Late album highlights include the dreamy and bouncy “Rooftop Views”, and “Out Of The Dark” closes the listen on a jarring, blurry instrumental that provides a unique contrast to the rest of the affair.

Vok won album of the year in their country with 2018’s Figure, and In The Dark is another fascinating installment of atmospheric sounds that radiate both depth and playfulness. With this much creativity on hand, it won’t be long until these 3 are household names outside of Iceland, too.

Travels well with: Soley- In The Deep; Sin Fang- Flowers

Imperium

Metalville, 2019

8/10

Listen to Imperium

Led by one of the world’s best guitar players- Canada’s Glen Drover- Walls Of Blood brings us their first album of power metal anthems, where plenty of guest vocals come from some of the most legendary artists in the genre.

“Leave This World Behind” opens up the varied record with Nils K Rue (Pagan’s Mind) on vocals, as the music shifts from melodic to heavy while Rue hits some really high notes. From here things get heavier, especially on the Chuck Billy (Testament) sung "Waiting To Die”, where charged riffs and roaring solos match Billy’s gruff pipes.

Perhaps best known for his time in Megadeth, Drover most closely resembles this chapter of his career on the bass heavy and thrashy “Walls Of Blood”, though the album standout is positively “Tarnished Dream”, where Tim Owens (Judas Priest) lends his inimitable vocals for a powerful and melodic masterpiece. The lone cover is “Junkhead” (Alice In Chains), where Lance Harvill does a great Layne Staley impression as the band retain the aggressive and dense spirit of the original.

Drover has already played with Megadeth, Testament and King Diamond, among others, and his expertise and experience help make this somewhat of a ‘Best Of’ album in the area of metal, where 8 different vocalists complement the diverse approach that will appeal to fans of all aspects of heavy sounds.

Travels well with: Megadeth- Rust In Peace; Exodus- Bonded By Blood

The Same But By Different Means

ANTI-, 2019

8/10

Listen to The Same But By Different Means

Formerly known as Un Blonde, these days Jean-Sebastian Audet is recording as Yves Jarvis (a combination of his middle name and his mom’s maiden name), and on The Same But By Different Means he plays 10+ instruments on songs that range from 14 seconds to over 8 minutes.

With 22 tracks on hand, there’s much to delve into here as Jarvis rarely stays in once place long. While opening tune “To Say That Is Easy” is a blurry psyche-rock adventure with hushed vocals, “Sugar Coated” gets soulful in aberrant ways with organs, keys and horns.

Experimental is certainly a notion Jarvis embraces wholeheartedly here, and tunes like the jazz and hip-hop mashing of “That Don’t Make It So” and the avant-garde sounds of the finger snapping “360” make classification nearly impossible, though “Goodbye Reason, Goodbye Rhyme” brings summery strumming to an upbeat folk moment.

A very comforting listen in a blurry sort of minimalist fashion, the warm, layered vocals nearly come off as meditative, and the nature sounds of wind, insects and animals certainly punctuate that. However, underneath it all is an ultra-creative mind where several 30-40 second interludes are just as fascinating as the 8 minute sprawling, psychedelic-folk stunner “The Truth”, which finishes the affair.

Whether you’re partial to Sufjan Stevens or Frank Ocean, this curious album from the Montreal youngster will likely mesmerize and bewilder you at the same time with his iconoclastic vision and flawless delivery.

Travels well with: Eerie Wanda- Hum; William Tyler- Goes West

Wings

Redbird, 2018

8/10

Listen to Wings

A Kentucky outfit with a large folk and Americana influence that’s fueled heavily by their Appalachian roots, though the band took a decade hiatus when the core members Carla Gover and Mitch Barrett divorced, on Wings they come together with their most mature songs yet and bring along their daughter, Zoey Barrett.

“Wings Of A Dove” gets right to the crux of the band with a gently strummed, breezy folk tune with fiddles and glowing vocal harmonies. “Black Feathers” follows and lets Barrett take lead on vocals with flutes helping set the mood.

Primarily a calm affair, the hushed and sweet “Cheat The Blues” and the lullaby-esque “Lay Down” exemplify their skill at softness, though the spoken word and dobro fun of “One Foot” and the fuller roots rock of “The Earth Had Had Enough” illustrate how adept the outfit are in louder areas, too.

Zoe Speaks released 3 albums between 2000-2008, and let’s hope Wings is the impetus for more work in the near future from this very soothing and creative familial songwriting team.

Travels well with: Gilliam Welch- The Harrow & The Harvest; Alison Krauss- Raising Sand