Take Effect

Cut For Time

Knuckle Down, 2018

8/10

Listen to Cut For Time

With all the bizarre and extravagant genres coming out of New York City these days, it’s refreshing to hear A Very Special Episode and their affinity for the sounds of shoegaze and punk.

Though there’s just 5 tracks here, each one is substantial, as opener “Gravity” brings a dark, post-punk mood to an otherwise pop-rock tune, while “Still Here” sounds right at home in the ‘90s alt-rock scene with its driving and charged atmosphere.

Later on “Crazy” is a more raw version of Paramore before the initially calmer “Invitation To Delete”, where Kasey Heisler shows impressive range while the tune builds into a turbulent garage rocker. The EP exits on the hazy “On Our Own Again”, an expansive affair that’s gritty and explosive but still tuneful and melodic enough for mass appeal.

A successful 2nd EP for this young trio, a future LP is hopefully in the works, and let’s plan on it containing all the power and sharp songwriting prowess of Cut For Time.

Travels well with: Slowdive- Souvlaki; The Pretty Reckless- Going To Hell

Live From The 805

Rip Cat, 2018

8/10

Listen to Live From The 805

Recorded live in his hometown of Santa Barbara, blues rock guitarist Alastair Greene delivers 2 discs worth of tunes in front of his hometown crowd. Included are selections from his 5 albums, as well as a few carefully picked covers.

Primarily a blues spirited listen with intense and meticulous guitar work from Greene, songs like the sturdy “Down To Memphis”, the highly rhythmic “3 Bullets” and rock’n’roll influenced “Trouble At Your Door” are further proof of Greene’s unparalleled talent in the area of blues rock.

Elsewhere, influences like funk invade the groove friendly “Big Bad Wolf”, while the opening of “T’other Way” takes nods at Greene’s time touring with the prog-rock stylings of The Alan Parsons Project. The only tune not sung by Greene is “First Born Sun”, where Chris Chalk lends his deep, rugged pipes for a thick, rocker that’s muscular and melodic.

An incredible sounding live album where not only is Greene’s skill highlighted but his band as well, the outfit's power and collaborative technique is spot on here, and while 20 tracks might seem like a bit too much to take, it’s so well delivered we could actually use 20 more.

Travels well with: Gov’t Mule- By A Thread; Stevie Ray Vaughan- The Sky Is Crying

Meco

Meco, 2019

9/10

Listen to Meco

It’s already been a fantastic year for Americana sounds, and Amy McCarley’s 3rd album is a big part of the reason why. The former NASA contractor is in great company here with mandolin, fiddle and male backings vocals from Harry Stinson and Chris Scruggs, though something tells me if even if McCarley was holding down the fort on her own it would be equally as sublime.

Though the stunning listen starts with the roots rock and warm country sounds of “A Clue”, other early tracks like “Clarksdale Blues” brings slide guitar and blues influences with McCarley’s expressive, inimitable vocals, while the strong rhythm guitar and soulful mood of “High Wire” is both elegant and playful.

Standouts from the second half include the aching strings and harmonica of the ballad “How You Do”, the fiddle friendly, honky tonk sounds of “Ain’t Life Funny”, and the upbeat, bright rhythm of “Never Can Tell”, which shows traces of bluegrass with the mandolin acrobatics.

A record that was born out of McCarley’s transition into a career in music, there’s a reflective spirit and emotional honesty that’s very transparent on the listen, as each song is carefully crafted and delivered with a pensive, gorgeous timelessness. Even if you’re not a fan of Americana sounds, you’ll likely still adore the way McCarley pens a tune.

Travels well with: Whiskeytown- Pneumonia; Erika Wennerstrom- Sweet Unknown

White Tiger

StorySound, 2018

9/10

Listen to White Tiger

Now active for over two decades, Brooklyn’s Ana Egge brings in some serious talent here as Buck Meek (Big Chief) handles electric guitar duties, while vocal appearances from Anais Mitchell and Alec Spiegelman, among others are present, and members of Joan Of Policewoman and The Brother Brothers also lend their skills.

“Girls Girls Girls” starts out the affair with playful acoustic sounds and a bouncy atmosphere with soft horns, before the soft and sparse title track, “White Tiger”. “Be With You” is a fuller tune with percussion and clarinet, while “Dance Around The Room With Me” is indeed danceable, with playful keyboard work.

The second half of the album is equally as meticulous with the strong beat and atmospheric touch of “I’m Goin’ Bossa Nova”, and the album highlight “Last Ride”, which is gorgeous folk-pop at its finest with warm melodies and a hint of country. The only cover resides near the end, as Billy Strings brings his vocals for John Hartford’s “In Tall Buildings”, where the duet is transformed from country into a chamber-pop masterpiece.

Egge is a fantastic singer, often times reminding us of a more youthful Lucinda Williams, and her precise arrangements are full of much poise and emotional connection. How she hasn’t become a household name after 10 albums is beyond me, cause White Tiger is a stand out listen in the crowded folk, Americana pool.

Travels well with: Brianna Lea Pruett- Gypsy Bells; Andrea von Kampen- Old Country

Suspended In Reflections

Pelagic, 2018

8/10

Listen to Suspended In Reflection

Ancestors return after a 6 year break from recorded music, and now a three piece, the trio have 6 new tunes of very detailed and post and prog-rock, where the underpinnings of doom metal and sludge sounds are present.

The quick listen opens with the dense, hazy “Gone”, where soaring vocals and angular guitar work make for an interesting combination of rock and metal, and “Through A Window” follows with an initially thinner atmosphere, but still plenty of majestic singing that carries a cinematic quality.

Middle tracks like the sparse “Lying In The Grass” are key heavy with vocal effects that build into an ebullient display of power and melody, while the darker “Into The Fall” brings orchestral and experimental ideas that embrace jazz and that extends into the spacey and haunting “Release”. The album exits on the most abrasive tune, “The Warm Glow”, where vocals get more aggressive and the loud guitars emit a thundering presence that weaves in and out of noisy feedback, calm ebbs and gorgeous post-rock.

For fans of Pink Floyd, Sleep, King Crimson and everywhere in between, this 5th album from the Los Angeles outfit roars, simmers and gets inventive in beautiful ways that are nothing short of inviting.

Travels well with: Dead Meadow- The Nothing They Need; All Them Witches- Dying Surfer Meets His Maker

We Are One

Self-Released, 2018

9/10

Listen to We Are One

The Chicago family oriented band return with a 2nd album that continues their quest to bring people together through the use of animal imagery. Spearheaded by two music educators, David Ladon and Seth Adams, the pair show a wealth of influences from rock, jazz, Klezmer, Afro-pop, Latin and Tin Pan Alley that explore relationship and community, among other things.

The diverse albums starts with a penguin story set to playful and elegant afro-pop, before the leap into ‘90s guitar rock with “Awesome Possum”. Later tracks like “Slow Down” do slow down with an orchestral slant, while “Crazy Pants” brings salsa flavor to the fun.

True to their band name, most songs here have animals as the themes, and tunes like the piano balladry meets folk-pop of “Totes McGoats” are sung from the animal’s point of view, as is the key heavy “Two-Headed Tortoise”. Elsewhere, tracks like the memorable pop-rock of “The Abyss” are about where animals live, and serve to educate and entertain.

An accomplished listen of a mixed bag of styles, Animal Farm have a lot of fun here, but we can’t dismiss their insightful observations about deforestation, too. A record with much detail, even though the topics might be aimed at the youngsters, the music is very mature, well thought out and easily stands out in the growing genre of kindie-rock.

Travels well with: The Laurie Berkner Band- Superhero; They Might Be Giants- No!

Beyond Our Dreams

Self-Released, 2018

7/10

Listen to Beyond Our Dreams

An Indian born, Michigan raised and now Atlanta resident, Anita Aysola finds a very interesting sound by injecting Western classical and jazz with Hindustani classical ideas.

Effectively bringing her Indian heritage and American upbringing together, “America” lead the quick listen off with Indian influences and Western acoustic prowess, and “Long Way Home” follows with a calm, strong melody and dense beat. “Beyond Our Dreams” finds a place to reside between jazz and blues, while being the track that most points towards her Indian roots, and the soulful, emotional “Tourist In Every Town” puts an exclamation point on that with a stunning ballad.

Although this might be lumped into jazz fusion, there’a also folk and Americana, and, in the case of “Bet On Us”, blues mixed in with the very cultured, unique EP that is sung in both English and Hindi.

Travels well with: Anoushka Shankar- Rise; Norah Jones- Not Too Late

Human Part 1

Self-Released, 2018

9/10

Listen to Human Part 1

The Wisconsin, now Nashville musician Chris Kessenich returns with more of his Americana meet modern-pop sounds that are quickly gaining strength with stronger songwriting and sharper musicianship.

“Icarus” starts out the EP with the sort of bright acoustic strumming that would make your garden variety Americana band seem flaccid, as the tune builds into a rollicking garage rocker with guitar solos and organs. “Devil On My Shoulder” then follows with a rugged quality and pop appeal that sounds like a dance party in a log cabin, before the volume scales back on the warm roots rock of “Honey Tupelo”. Near the end, the piano friendly and soulful “I See You”, featuring Bre Kennedy, is a stirring tune and flows well with “Cannibals” that finishes out the experience with a hazy, lush, busy ride that explores an entirely new level of creativity for Arts Fishing Club.

If these 5 tracks are any indication, 2019’s installment of Part 2 should make Human one of the best albums in recent history, cause these songs are flawless.

Travels well with: Local Natives- Hummingbird;, Bon Iver- For Emma, Forever Ago

Aeonic

Mountain Home, 2019

8/10

Listen to Aeonic

Few bands have accomplished as much as North Carolina’s Balsam Range in the decade or so they’ve been around, and this 7th album of their bluegrass and acoustic sounds is sure to garner them more acclaim.

Heavy on rhythm, songs like “The Girl Who Invented The Wheel” illustrates the band’s attention to melody, while “Tumbleweed Town” brings in authentic country spirited vocal work. Balsam Range are certainly no stranger to balladry either, and the dual gender duet “The Rambler” is a warm, aching, sparse highlight.

What really sets the 5 piece apart from many other bluegrass outfits are tunes like “Help Me To Hold On”, which has one foot firmly in blues ideas, and the gospel heavy “Let My Life Be A Light”. The album ends on a cover of “If I Needed Someone” (The Beatles), where the fiddle and banjo move at lightning speed and soothing vocals are handed by many players.

A record that can break your heart and instill so much joy at the same time, Aenoic covers a wide range of emotions, and really pushes the boundaries of what is possible in the area of bluegrass with its powerful, efficient and varied delivery. A band that haven’t disappointed yet, this one is the most luminous.

Travels well with: Hot Buttered Rum- Lonesome Panoramic; Steep Canyon Rangers- Out In The Open

Get Us Out Of Fearland

On The Bol, 2018

9/10

Listen to Get Us Out Of Fearland

Yet another genre defying outfit from New York City, Banjo Nickaru & Western Scooches bring us Gullah-Geechee influences and drive them right into world rhythm ideas where folk, Americana, and jazz linger in the formula.

The sophomore album starts with Betina Hershey’s bright, crisp pipes against the bluegrass banjo stylings of “Soar”, before the soft folk sounds of “I Wish The World Knew Why”. Things then get rhythmic and rousing with the busy “Get Us Out Of Fearland”, and the 1920’s vintage feel of “I Don’t Need No Glasses” makes us wonder just how much more varied the listen can get.

Turns out, the variety is boundless, as “Dandelion” brings us their version of gospel, while “A Hundred Miles” recruits fiddles for a barnyard burner. The darker “Don’t You Follow Me” uses harmonium to its advantage, and the album ends on the percussion heavy and ultra soulful “Park Song”.

Though the band at their core are the duo of Nick Russo and Betina Hershey, there’s much other talent on hand and together the collective bring us a culturally diverse and eye opening record where harmony exists amid so many different approaches. Beyond their thriving, restless music, the world needs the philosophy of Banjo Nickaru & Western Scooches right now, and much more than many would care to admit.

Travels well with: Bumper Jacksons- Too Big World; Blind Pilot- We Are The Tide

First World Blues

Flour Sack Cape, 2018

9/10

Listen to First World Blues

Formerly of Baltimore but now residing in Nashville, Benjamin Jason Douglas is not only well versed in blues, but is quite familiar with folk sounds and Americana, too. On this, his debut, he injects plenty of wit and wisdom in these well thought out stories.

“Tent Pole” starts the album right in Nashville with the gospel, country rock strumming and raspy vocals guiding us through a rousing and immediately memorable tune that’s part barnyard party and part bar room brawler.

From there things only getter, as “Beat Black And Blue Collar Blues” brings us rugged blues, while “Walking Down The Grain” gets dark and births mesmerizing gothic Americana. “Raggedy Andy Williams” shows us his soulful side, though we can’t dismiss the soulfulness that exists across the entire record.

The back half is just as luminous, with the electric guitar and piano rock of “Digging A Stigmata”, the pensive and lush “Street Preacher”, and the closer “Gloria”, which is a stirring, emotive folk tune.

I became a fan of Douglas no more than 30 seconds into this incredible album. How he isn’t a name more people are talking about is beyond me, but with a voice like this and the ability to write heartfelt and reflective songs, it’s likely he won’t be obscure for long.

Travels well with: William Elliott Whitmore- Kilonova; Bill Scorzari- Through These Waves

Humanoid

Universal, 2018

8/10

Listen to Humanoid

Though this is Jarle Bernhoft’s first album with The Fashion Bruises, the Norwegian songwriter and composer has already released 3 albums of his own and has gained enough prestige to be Grammy nominated. Considered one of the best in the area of R&B and pop hooks right now, Humanoid embraces those talents with an organic, live, full band feeling.

Songs like “Humanoid” get off to an animated start with a dense beat and pop appeal, while still touching on funk and R&B, and this variety sets the pace for the remainder of the album. While “Lookalike” carries a strong R&B influence with plenty of help from keys, the rugged rock of “Dreamweaver” comfortably sits alongside today’s best indie-rock.

Ultimately a record with mass appeal, pop ballads like “Love Brings Us Further Apart” (with Alice Raucoules) should make Bernholf and company a household name, while the disco tinged “Medication” has enough robust grooves it could easily be a club hit.

An album that somehow manages to remind us of Stevie Wonder, Daft Punk, Radiohead, Springsteen and Prince all in one location, there is something for everyone to adore here and it’s all executed flawlessly.

Travels well with: Highasakite- In And Out Of Weeks; Span- Mass Distraction

Worlds Within Worlds, Worlds Without End

DMI, 2019

8/10

Listen to Worlds Within Worlds, Worlds Without End

Seattle has historically produced legions of unusual rock bands, but none quite like Black Science. A self-described noise rock outfit, it’s the brainchild of Thad McKraken and he brings psychedelic, ambient and highly experimental ideas to his sonic palette, as Worlds Within Worlds, Worlds Without End is about as mysterious as its title.

“Macrocosmic” starts the adventurous album off and it is indeed packed full of big, spacey sounds, where spoken word branches off into busy percussion and aberrant noises, including hazy vocals.

An album full of unclassifiable sounds, “The Ancient Sorcery Sound” might be the most definable as it rests somewhere just outside the realm of electro-pop, while elsewhere the setting gets club friendly with “Eternity Beacons” in an industrial, ominous sort of way.

The second half of the experience is equally unorthodox, with the hypnotic, strategically repetitive “Where No Humans Hath Ever Trod”, where a strong semblance of rock exists, and the quickest track, “Divine Explosions”, that brings synthetic drums into a warbling, hazy pop tune. The record concludes on the 10+ minutes of “All The Way Out”, which blends glitchy patterns, strong rhythm and droning noise-rock into a groove filled exit fit for another dimension.

Part sci-fi experiment, part rock’n’roll manipulation and completely iconoclastic in all avenues, Worlds Within Worlds, Worlds Without End will leave you bewildered in the best ways, anxious for another spin of truly remarkable art.

Travels well with: Comets On Fire- Blue Cathedral; The Mars Volta- De-Loused In The Comatorium

Convulsionaries

Astral Spirits, 2018

7/10

Listen to Convulsionaries

The longtime guitarist/composer Brandon Seabrook is aligned with Henry Fraser (bass) and Daniel Levin (cello) here, and together the 3 bring us on an unexpected and twisting journey that sets drums and vocals aside and focuses on their stringed prowess.

“Bovicidal” starts off the madness with off kilter ideas and an improvisational atmosphere that get ominous, sparse and busy and takes math rock to an entirely new level. “Groping At A Breakthrough” then highlights minimalism that builds into a cinematic quality of the most unusual kind. Things really only get more unclassifiable from here as “Crux Accumulator” is classical music gone haywire, while“Vulgar Mortals” finds a lull of tranquility amid the chaos. One of the best tracks the nearly 10 minutes of “Mega Faunatic” starts with a gentle plucky duet and but it’s not long until Seabrook’s guitar skill and screeching sounds bring it into the realm of noise-rock.

A very emotional and cathartic display of talent, the avant-jazz meets chamber sounds here defies categorization and convention, making this an ideal listen for the flexible ears.

Travels well with: Arab On Radar- Soak The Saddle; Beat Circus- Dreamland

Hold To The Light

Self-Released, 2018

7/10

Listen to Hold To The Light

The songstress returns with a 3rd album that shifts direction from 2015’s The Simple Fear and its acoustic folk template for a more ambient indie-pop environment that welcomes electronica.

Annibale brings on members from The National, Sylvan Esso, and Ray LaMontagne and their help is integral to produce the lush, dark mood of “Hold On”, the playful yet ominous pop of “Glow” and dance floor friendly “Distraction”.

Later efforts like the title track are sparse and introspective, while the light and airy “We Were Not Ready” leaves an indelible mark, and one of the album’s best, “Point Of View” recruits acoustic strumming that meets experimental percussion. Near the end “Then Again” pulls from her folk arsenal with a breathy, sweet moment.

A very cautious, literate album, Annibale’s manipulation of reverb and stringed moments really punctuates the rich textures, making this another thoughtful chapter in her glowing catalog.

Travels well with: Emily Jane White- Ode To Sentience; Maria Taylor- 11:11

I Hear Bluegrass Calling Me

Pinecastle, 2019

8/10

Listen to I Hear Bluegrass Calling Me

The North Carolina bluegrass stars returns with a 3rd album of their Bill Monroe influenced sounds that brings both recently penned tunes and older songs that certainly needed to be heard.

This installment gets right to the point with the meticulous picking of the title track, and from there things only get better with the single “Rusty Rails”, which is packed with soothing fiddle and mandolin work, as well as pensive vocal harmonies. Although generally a swift affair where the calculated, deliberate songwriting is instantly memorable, ‘Longing For Home” brings playful pickin’ with plenty of restraint, although gospel tinged tracks like “Glory Bound Train” keep the pace and variety very strong.

If you’re a bluegrass enthusiast you’ve no doubt already picked this up, cause if you haven’t you’re missing out on one of the best of the genre hitting a career high. For the first time yet, the band are offering their esteemed work on vinyl, too.

Travels well with: Sister Sadie- II, Clay Hess Band- Just Another Story

Piano Music

Decade, 2018

8/10

Listen to Piano Music

A multi-instrumentalist who has helped make Chicago’s Filligar one of the most interesting bands in today’s indie-rock and electronica scene, here Casey Gibson explores the sparse, organic sounds of his piano.

“Linden House” starts the elegant listen with soft keys and a mesmerizing melody that builds into a louder affair, and “Odile” follows with skittering keys and an emotional spirit to the moving tune. An album that spans a variety of moods, “Outside The Town Of Malbork” is bright, joyful and extremely complicated, while the contemplative and aching “Cast Aside” would be ideal for late night mulling. The playful, frisky “Chichi”, on the other hand, might be worth dancing to with its perky nature.

An artist who was classically trained, Gibson has proved to be quite versatile, having officially remixed Frank Sinatra and Henry Mancini as well as writing and producing for Wild Belle and Betty Who. Though this is Gibson’s first solo album, let’s hope it’s not his last; this sort of talent deserves a spotlight of its own.

Travels well with: Nils Frahm- Electric Piano; Rachel Grimes- The Clearing

Rest Heavy

Self-Released, 2018

8/10

Listen to Rest Heavy

The Iowan songwriter Chad Elliott uses his gritty voice to deliver roots, blues and soul songs on 11 original tracks here. Though Elliott handles vocals, acoustic guitar and harmonica, his band, The Redemptions, bring in the usual suspects as well as well as trumpet and upright bass.

“Rest Heavy” begins with a soulful, retro piano tune where blues and gospel are present, and that continues with the harmonica heavy '“Shy Of Shameless”, the pensive, country tinged “Shining Stars”, and the rugged, slinky “Cadillac Problems, Buick Times”, where Elliott channels his inner Tom Waits.

The second half of the album is all substance, too, with the aching ballad “Alberta”, the traveling folk and blues spirited tune “Dirty River/Catfish Blues”, and the warm slide guitar acrobatics of “Embarcadero”.

Also a published poet, Elliott’s got a knack for timeless, relatable storytelling, and his songwriting comes with much heart, integrity and vitality. Reportedly having penned over 1000 songs to date, the small handful here are all gems.

Travels well with: Tedeschi Trucks Band- Revelator Sam Cooke- Mr. Soul

Safe

Night Time Stories, 2018

7/10

Listen to Safe

The Bristol artist comes through with a debut album that tugs on the heartstrings with delicate piano balladry and ambient texturing that recruits cellos, violin, programmed drums and synth to help flesh out the emotional stories.

What we quickly realize, though, is Chaoche’s best asset is her soaring, angelic pipes which guide us through the soft and sweet “My Friend”, the soulful “We Will Love”, and the blurry “I”. Primarily a calm and sparse affair with piano complementing the vocals, she does make strategic use out of layered harmonies, and “What’s Next” is about as busy as she’ll get with ominous beats and fuller keys while “Forgetting Marcel” brings a dreamy, cinematic quality to the listen.

A slow burning experience with much depth, Chaouche’s songs are rooted in tragedy, and like any worthwhile artist she engineers them into a stirring, thought provoking experience.

Travels well with: Cat’s Eyes- Treasure House; Poppy Ackroyd- Feathers

Tour Guide

Self-Released, 2018

8/10

Listen to Tour Guide

Cheri Magill’s 3rd album changes direction and surrounds the joys of motherhood as she delivers frisky, sweet and wise songs that certainly will resonate with all parents.

“Tour Guide” starts with the elegant, twinkling piano tune and ambient orchestral strings, and later songs like “You Are Here” and the calmer “Unconditionally” take on a similar spirit with much grace. Elsewhere, Magill channels her inner pop star in the jumpy and infectious “Lasso The Moon”, and “Brave” brings a club friendly tune that your body will be forced to move to. “Crazy”, a humorous and playful account of the day to day tribulations of raising a child, is one of the best here, while the musical highlight, “Still”, is a gorgeous and lush effort with a cinematic appeal

Though Magill had to step back from her music career when she became a mother, this album proves that her talent hasn’t receded one bit, and her insightful, clever and well delivered stories of mom life are a must if you have a little one at home.

Travels well with: Sarah McLachlan- Fumbling Towards Ecstasy ; Michelle Branch- Hotel Paper

Quarter Past Tonight

Self-Released, 2018

8/10

Listen to Quarter Past Tonight

Cody Diekhoff, AKA Chicago Farmer, finally gives his fans what they’ve been requesting for years- a live album. Recorded in Peoria, Illinois over 2 nights, we’re treated to 2 discs of Diekhoff’s stories with just his guitar and harmonica on hand.

With 5 albums of material to pull from, and over two decades of working as a touring musician, Chicago Farmer flawlessly executes tracks like the stripped down “Watch Doctor” and playful “Postcards” from his early days, as well as more recent tunes like the soaring “Umbrella”. Longtime fans will be ecstatic to see 3 new songs present, as well as a cover of Backyard Tire Fire’s “Good To Be”.

Though I usually feel live albums are primarily for diehard fans or those at the actual show, the fantastic sound here and variety of tunes would make Quarter Past Tonight a perfect introduction to Chicago Farmer’s flourishing working class brand of folk, roots, Americana and country rock.

Travels well with: Edward David Anderson- Chasing Butterflies; Neil Young- Harvest Moon

The Choosing Road

Mountain Home, 2019

8/10

Listen to The Choosing Road

A guitar enthusiast since the age of 12, Chris Jones has been playing in bands starting in his late teens, and his long running venture with The Night Drivers has been going strong since 1995 as they’ve penned half a dozen or so well received albums. The Choosing Road has Jones collaborating with his band more than ever, resulting in their most dynamic and intimate release to date.

“Your Remarkable Return” gets off to a quick paced start with Jones’ smooth, strong baritone vocals that harmonize well with the melodic atmosphere, and “Letters To Brendan” brings the mood down to near ballad like, with a reflective, emotive and gorgeous tune. “Looking For The Bridge” offers us a wise, more rugged version of bluegrass, while “I Can’t Change The Rhyme” gets closer to county sounds with beautiful restraint.

The two anomalies on the album are the instrumental “Nyhan’s Regret”, where wordless interplay between the instruments yields a creative high with fiddles stealing the show, and the lone cover, “Back In The High Life Again” (Steve Winwood), where Jones and company retain the warm spirit of the original and certainly do this classic justice with a cozy country spirit.

Late album highlights include the pretty harmonies and mandolin acrobatics of “Bend In The Road”, the proficient banjo plucking of “I Shouldn’t Even Be Here”, and the aching pedal steel of the subdued and introspective “Own The Blues”.

Not only is there top notch singing and picking to be found here, but the songs embrace folk, blues and even gospel ideas, too, amid the expertly crafted traditional blue grass sounds. There is a reason why Jones is considered one of the best in his genre, and The Choosing Road further cements that.

Travels well with: Balsam Range- Aeonic; NewTown- Old World

Songcraft

Winding Way, 2018

8/10

Listen to Songcraft

An accomplished singer-songwriter, multi-instrumentalist and producer, Chris Peace (Under The Oak, Mr. Fuzzy And The Barbarian) lends his talents to spotlight rising vocalists across these 5 tunes.

“The Worry” starts the listen with soft keys and a strummed acoustic guitar against Sharon Little’s delicate and powerful vocals, and builds into an emotive and soulful tune. “Lawless”, featuring Maggie Pope, sits comfortably in the area of Americana, and aches and twinkles with hushed beauty.

There are two tracks with Rob Pallet and Margo Cisneros. “Eyes On You” is a cozy duet with an ominous backdrop and rustic instrumentation, and “You Are The One” is quicker and highly melodic soft rock. Christine McAlister’s contributions occur on “Silver Gun”, a lush, soothing and playful highlight.

Peace has already proved his worth in his full band work, and this EP solidifies him as one of the best in the area of folk and Americana. An intimate and attentive outing, the several vocalists present help give each tracks its unique beauty.

Travels well with: Under The Oak- Big Sky; Lake Street Dive- Bad Self Portraits

Blue

Mountain Home, 2019

9/10

Listen to Blue

Pulled from deep in Ozark territory in Arkansas, when perusing the track list here, which includes covers of Justin Bieber, Beyonce and LMFAO, one might get the wrong impression that The Cleverlys are knee deep in radio pop sounds. However, these 5 gentlemen, all of who have adopted Cleverly as their last name. are all about fiddles, mandolins and banjos on this light natured bluegrass record.

“Baby” starts the affair with lively blue grass sounds, gorgeous vocal harmonies and plenty of stringed acrobatics, and this theme follows through to the fun, dare I say better than the original, “Milkshake”, while “Girl In The Sky” brings in swift mountainous sounds with soaring instrumentation. Though it’s primarily a quick paced listen, “Blue (Da Ba Dee)” is a it more cautious before erupting into lush, organic sounds, and “She’s Not There” makes great use of upright bass.

The second half of the album brings a warm, country spirit to “Wait A Minute”, while “Party Rock Anthem” indeed brings us a festive atmosphere, though not exactly the same type of party the original tune soundtracked. “Irreplaceable” offers us a subdued track with plenty of flowing melody, and perhaps the only tune that’s somewhat like the original, “What’s Up” (4 Non Blondes), remains calm and soothing. Near the end, surprises come with the synthetic percussion of Ralph Stanley’s “Oh Death”, and the last track, “The End Of The Record”, is just the band doing impressions and in general goofing off in a playful, humorous fashion.

If you’re like me, you won’t recognize many of these songs as covers, and the ones that are more recognizable they’ve reinvented in their own bluegrass meets pop fashion where all members sing and play their respective instruments like seasoned vets.

Think of The Cleverlys as the Me First And The Gimme Gimmes of bluegrass, which, if you’re familiar with the latter, you’ll recognize that as the highest compliment one could be paid.

Travels well with: Balsam Range- Aeonic; Grant Maloy Smith- Dust Bowl

Hereditary

Milan, 2018

8/10

Listen to Hereditary

An established saxophonist and multireedist, Colin Stetson might best be known for his work with bands like Arcade Fire, Bon Iver and Bell Orchestre. Here, with Hereditary, he soundtracks a horror film, and successfully brings avant jazz ideas into post-rock and even prog-metal territory.

Entirely instrumental, Stetson uses electronic and ambient sounds to create a chilling, tense atmosphere where some songs end abruptly under a minutes, and other drone on for 8 minutes. Often using clarinets and saxophones- and even occasionally trumpet and french horn- the collections unfolds with textured, manipulated sounds that extract the most amount of detail to fit the mood.

With 9 studio albums under his belt and 20+ scores for television and film, Stetson goes well beyond your typical horror movie score here, and reaches an entirely new level of refined, ominous art that, even without viewing the film, might have you feeling a little uneasy.

Travels well with: Sarah Neufeld and Colin Stetson- Never Were The Way She Was; Ex Eye- Ex Eye

Songs The Jukebox Taught Me: Volume II

Heart Of Texas, 2018

8/10

Listen to Songs The Jukebox Taught Me: Volume II

The country singer, songwriter and radio personality returns with another round of tunes that pay homage to his heroes, and, in his usual fashion, Dallas Wayne puts an authentic and warm spin on the classics.

A listen packed with breezy melody, “Gwen (Congratulations)” starts the record out on a high note before the flowing Bill Anderson tune “Tips Of My Fingers”, which is reinvented with the utmost beauty. Of the more aching moments, “Is It Raining At Your House?” brings in emotive pedal steel and strings for a maudlin moment, and Floyd Tillman’s “This Cold War With You” offers more variety with jazz and blues flavor.

While Wayne sticks with classic country artists here, many of which aren’t well known to the mainstream, he does cover the renowned Willie Nelson with a lesser known tune as Wayne puts a playful shuffle on “Blame It On The Times”.

If you’re a fan of traditional country songs, you really can’t go wrong here. The tunes sound great, feel great and inject a whole lot of spirit into classics that deserve to be heard again.

Travels well with: Merle Haggard- If I Could Only Fly; Don Williams- Country Boy

The Future Ain’t What It Used To Be

Dabon, 2019

7/10

Listen to The Future Ain’t What It Used To Be

The big band ensemble return with arranged and produced compositions from Dan Bonsanti that illustrate their eclectic and highly regarded nature, where 4 reeds, 3 trumpets, 2 trombones, piano, guitar, bass and drums are all in attendance.

“Armando’s Rhumba” leads with flowing instrumentation and a lively piccolo solo, and “Firewater” follows with trumpet and trombones taking center stage. Musically, though jazz is certainly the template, “Blue Miles” hosts funk influences, while “Rice Pudding”, the standout track, brings bluesy guitars alongside bright trumpets. Of the calmer moments, “Ruth”, an original, is a gentle ballad with soothing piano providing the backbone.

If you enjoy big band sounds, this ensemble of South Florida’s brightest musicians is a must, as they weave in and out of a never ending expanse of textures where you’re just as likely to hear a flute solo (“Triste”), as you are a guitar solo (“16 Tons (Give Or Take))”.

Travels well with: Chick Corea- Crystal Silence; Jaco Pastorius- Word Of Mouth

Alphabet City 2 AM

Self-Released, 2018

9/10

Listen to Alphabet City 2 AM

A Cleveland born but New York City resident rock and roller, Dan Miraldi embodies everything we love about rock’n’roll on this 4th album- the recklessness, the charged music and, of course, the storytelling.

Part party album and part introspection, “Woke Up Naked” starts the listen with a driving, melodic rocker and then trims back the volume on the acoustic “Every Day Of The Week”. Of the loud, wild tunes, “Right Where You Belong” is punchy and punk rock influenced, and “Postcards From New York City” a melodic anthem, but “She Knows” trumps them all with its upbeat punk flavor ala The Ramones.

Of course, Miraldi isn’t just about late night hedonism. “Watered Down Love” brings us darker piano rock, and “Eyes Of Sarah” may as well be a folk tune. Elsewhere he gets lush and pop friendly with “Chelsea Girl” and finishes the album out on the soft “Tonight Is On Our Side”.

The songs here were penned in 2015-2016 and pretty much detail Miraldi’s life in NYC during that time. It would appear that he was having a grand time then, and thankfully he’s got the chops to turn it into a fantastic record.

Travels well with: Jesse Malin- Outsiders; Butch Walker- Stay Gold

Resonance

Self-Released, 2019

8/10

Listen to Resonance

Inspired by the recent death of his friend Jessica Hiltabidle, drummer Dave Rudolph recruited 4 esteemed local musicians to help flesh out his 9 original tunes.

“Atonement” starts the post bop jazz affair with a colorful and bright track where solos from guitar and piano make this the ideal opener, and the waltz atmosphere of “Those Clumsy Words” punctuates the mood with Rudolph’s drum skills.

The lone vocal track is “Resonance”, where Whitney James offers her soaring pipes to the ballad, and this is followed by the New Orleans spirit of the feisty “Night Squirrel”. Though there isn’t a dull tune here, the aptly titled “Bounce” is a particularly swinging affair, and “Whimsy” is a piano masterpiece that brings an introspective mood to the record.

Another case of tragedy leading to great art, Rudolph and company make easily enjoyable and memorable songs here that flow well in and out of each other with elegance and skilled momentum.

Travels well with: Pat Metheny- Water Colors; Wayne Shorter- The Soothsayer

Songs Nine Through Sixteen

Scacuninc, 2019

9/10

Listen to Songs Nine Through Sixteen

DBUK is comprised of the 4 core members of Slim Cessna’s Auto Club, i.e. Rebecca Vera, Lord Dwight Pentacost, Munly J Munly and, of course, Slim Cessna. While the Denver outfit have been known for over 2 decades as a rebellious form of folk, country, and blues rock, as DBUK things shift towards reverb rich balladry and dark humor emitted through textured, complicated tunes by Munly J Munly.

“Bonnie Clyde, The Big-Bull-Hen Of The Women’s Prison” starts off the iconoclastic listen with Munly’s baritone vocals against well timed percussion that builds into some variation of eccentric Americana, and “Deerslayer” follows a similar path, though a bit more subdued. “From The Estate Of John Denver” is where the album takes a sharp turn into haunting, Gothic Americana that’s sparse, orchestral and chilling, and this follows into the moody “In San Francisco Bay” where plenty of backing vocals and atypical instruments punctuate the experience.

The second half of the album offers the vocal harmonies of “Coca-Colonialism” which unfolds like an aberrant Spaghetti Western, and the twisted folk tune “It’s Killing Me”, that brings so many different ideas to table, it should be a clumsy mess, but DBUK somehow make it an album highlight.

I feel pretty confident saying that no one is making music like this today. A slow burning journey with rich, layered, and subtly powerful art, Songs Nine Through Sixteen is the ideal listen for those who dig deep into the music they absorb.

Travels well with: Nick Cave And The Bad Seeds- Murder Ballads; Slim Cessna’s Auto Club- Cipher

Love Hard Work Hard Play Hard

Pinecastle, 2019

8/10

Listen to Love Hard Work Hard Play Hard

Deanie Richardson got her start early in show business, making an appearance at the Grand Ole Opry at the age of 13, though she had been playing the fiddle since she was 9. Currently a Grammy nominee, Love Hard Work Hard Play Hard finds collaborations with Patty Loveless, Dale Ann Bradley, and Mike Snider among others, and pours out in a display of timeless, elegant beauty.

The album starts just as it should, with Richardson’s fiddle prowess on the glowing “Black And White Rag”, which continues on the strong melodies of “Meadow Dancing”. This moves into the warm grooves of “Stony Mae” where we hear vocals for the first time, primarily from Ronnie Bowman, and though singing isn’t present all that much here, when it is, it shines bright.

Other cameos on the album come on the cautious “Jack Of Diamonds”, where Patty Loveless contributes her powerful pipes, and Casey Campbell, whose aching mandolin highlights “Kentucky Waltz”. The lone country track is “Tears Will Be The Chaser For My Wine”, where Dale Ann Bradley’s moving pipes guide us through the traditional stylings of the classic.

Richardson has no problem holding the show down on her own though, and the clog dance friendly “Lost Indian” and the swift chord changes and striking interplay between the stringed instruments of “St. Anne’s Reel” makes these a couple of the highlights.

The veteran proves that she’s only getting better with age here, and in addition to the well thought out tunes we get an explanation of the origin of each song in the packaging. It’s been a banner year for Richardson, who is part of the band Sister Sadie, and this solo effort is another extension of her enormous talent.

Travels well with: Williamson Branch- Free; Lorraine Jordan & Carolina Road- True Grass Again

This Night Falls Forever

Concord, 2018

9/10

Listen to This Night Falls Forever

Denver’s DeVotchKa return after a 7 year hiatus with an album deep in self-discovery that brings a bigger sound with meticulous songwriting that recruits a full orchestra.

A listen where each track brings new ideas, “Straight Shot” starts out with an island flavor and bright Latin influences before the falsetto vocals and Gothic Americana of “Let Me Sleep”. “Lose You In The Crowd” gets soft and mysterious, and “Love Letters” is a textured version of folk rock with a waltz like quality.

“Done With Those Days” gets both haunting and ambient, and the busy “My Little Despot” brings in an ominous slant akin to mid-period Radiohead. “Break Up Song” is as close to balladry as they’ll get with organs setting the mood, and it pairs well with the arena rock stylings of “Angels”.

An album with treasures around every corner, in a time when so many indie bands are falling into predictable patterns, DeVotchKa are an anomaly where strings, whistling and constantly changing atmosphere makes for a truly unique, captivating experience.

Travels well with: Murder By Death- The Other Shore; Rogue Wave- Nightingale Floors

5 Miles From Town

Self-Released, 2019

7/10

Listen to 5 Miles From Town

The stringed band sensations return with another album of their pop, country, bluegrass, jazz, and folk hybrid that takes on current social topics but still manages to have a good time with both traditionals and originals.

While the album leads with the swift fiddles and percussive heavy instrumental of “Hog Eyed Man”, “Wang Dang Doodle” is a soulful, jazz meshing with plucky bass and finger snappin’ fun and leads into the quiet, folk based “Darling Corey”.

Things only get more interesting from here, with a hushed intimate cover of “I Can’t Make You Love Me” (originally performed Bonnie Raitt), the bluegrass pickin’ of “Cream/I’m On My Way To Brooklyn (Yes Indeed)”, and the swampy blues of “Another Man Done Gone (Hands Up Don’t Shoot)”, which addresses much of the racial injustice that exists today.

Now a decade and a half into their career, the Manhattan outfit further prove that they’re not only here to entertain, but to communicate and educate with their spirited and flourishing art.

Travels well with: Pert Near Sandstone- Paradise Hop; The Highwoods String Band- Fire On The Mountain

Who Shot John?

Vizztone, 2019

9/10

Listen to Who Shot John?

I had no idea who Eric Schenkman was and it’s pretty likely you don’t either, but we all know his former band, Spin Doctors, who had a handful of massive hits in the ‘90s. Turns out Schenkman has had an impressive solo career, too, and Who Shot John? is his 3rd effort on his own.

A skilled songwriter and guitar player with an appetite for many genres, the album gets off to an incredible start with the blues rockin’ “I’m Alright” where stunning guitar licks and Schenkman’s gritty vocals carry the tune, and that intensity continues with the dense, groovy “Locked In The House All Day”.

A consistently strong album, “Who Shot John?” carries an almost ska-tone with jumpy, bouncy rhythm, while “Far Away” is swift, retro-rocker that is the most reminiscent of Spin Doctors. “Agent Orange Blues”, one of the best here, is a swampy, grungey endcap on a listen where each song is expertly crafted.

Honestly, I wasn’t paying much attention to Schenkman’s full band work in the ‘90s but after listening to Who Shot John? it seems I might have been missing out. The guy can write a tune you won’t soon forget and his guitar fills are extraordinary. If you’re a blues fan, i just can’t see any excuse for not picking this one up.

Travels well with: Patrick Sweany- Close To The Floor; Luther Dickinson-Rock ‘N Roll Blues

The Christmas Swing

Vizztone, 2018

8/10

Listen to The Christmas Swing

Holiday albums rarely get as fun or interesting as this. In fact, you might call this the Christmas soundtrack for people that can’t otherwise tolerate Christmas music.

Right from the opening of “Jingle Bells Blues” we know we’re in for an atypical experience, as the blues friendly guitars flip this traditional onto a new path. “Merry Christmas” follows with a warm rock’n’roll spirit, and the harmonica flair from Richard Rosenblatt makes “The Night Before Christmas”, a Harpe original, one of the most melodic tunes present that even brings in a harp.

Highlights from the remaining 7 tracks include the loose piano rock of “At The Christmas Ball”, the swift roots rocker “Merry Christmas Here I Come”, and the Chuck Berry influenced guitar licks of “Run Run Rudolph”. The frisky record ends on the quietest offering, “Auld Lang Syne”, where Harpe’s sultry vocals steal the show and her kazoo playing makes another enjoyable appearance.

Though Harpe and her band reside near Boston, you might think their accomplished blues sounds emanate from further south. Regardless of their geography, though, the outfit know their way around a tune, and this festive offering is proof they can turn a mundane concept into something rousing.

Travels well with: Bob Margolin- Bob Margolin; Lovewhip- Bouncehall

Women & Wine

Self-Released, 2019

7/10

Listen to Women & Wine

A quartet of female artists all with plenty of accolades of their own, together as Farewell Angelina this sophomore EP brings 6 original tunes plus a bonus track written by actor/musician Kevin Bacon.

The title track starts out the listen with vocal harmonies and instrumentation that bridges pop and country and sounds right at home in Nashville. “More Problems” follows with a more rugged approach but plenty of melody, and “Ghosts” finds the atmosphere becoming more moody but with a high amount of elegance. “Vintage”, on the other hand, certainly sounds contemporary with today’s version of country and could easily fit on the FM dial with its bright template.

The Kevin Bacon tune, “i Feel You”, finishes out the EP with the most soulful offering, where lush, sophisticated interplay and gentle singing put this one closer to soft rock territory.

Despite their moniker pointing at a haunting Bob Dylan tune, the tracks here keep some of their country roots intact, while putting a healthy glaze of pop sensibilities everywhere, and most importantly allow their best asset, their voices, to take center stage.

Travels well with: Pistol Annies- Annie Up; The Dixie Chicks- Fly

Good Things

Pinecastle, 2018

7/10

Listen to Good Things

The Farm Hands are not only one of the hardest working outfits in bluegrass, racking up 150+ days a year touring, but one of the most prolific. Their 4th album in 8 years, the quartet brings us 9 originals and 3 covers on this listen what surrounds the topics of family, faith, love and life.

Of the originals, “Hillbilly Graham” is a soulful, banjo pickin’ highlight with warm vocal harmonies, while the title track is a cautious, cozy moment that extends in the ballad “Thank You, God”. The pace picks up quickly with the swift “Long Way To Virginia” that carries with it a mountain-esque flavor, and later on the band illustrate their familial ties with the spoken word song “IOU”, which is an ode to their mothers for all the under appreciated work.. Religion is also a prevalent topic and right at the surface with “Still The Solid Rock.

Of the covers, “Daddy’s Shoes” is a reflective moment with soothing vocals and a familiar atmosphere, and the pace is magnified on the barnyard blaster “Dixie Breakdown” where lightning quick fingers make this an instrumental highlight. “What Am I Living For” puts focus on the 4 vocalists and fiddle and exemplifies the attention to detail The Farm Hands are known for.

Certainly a bluegrass album, there’s plenty of gospel to be found here as well, and a whole lot of fun amid the very serious topics. If you’re a blue grass fanatic, it would be foolish to pass this one up.

Travels well with: Williamson Branch- Free; Clay Hess Band- Just Another Story

Eaves

Infrequent Seams, 2018

9/10

Listen to Infrequent Seams

These Brooklynites describe themselves as ‘sloppy-math/avante-grunge’, and after listening to this debut album you’ll likely be a fan of their highly unorthodox ways guided by Meaghan Burke’s vocal acrobatics.

From the ominous and post-punk opening of “Freak Show”, Forever House impress us with calculated tension and exploratory ideas that range from serene to reckless. “Doppelganger” alternates between calm and jumpy to dense and commanding, while the swift “Spiders” brings in the crashing sounds of your favorite ‘90s Dischord bands with an intimidating slant.

While many of these are long songs that manipulate tone from spare and mysterious to experimental with gorgeous singing like “Saints”, the multifaceted “New Year’s Day” shows us many sides of their quirky approach with math rock tendencies. Of the few somewhat standard moments, and they’re fleeting, “Entitlement Fee” brings us driving melodies, and “Vasectomy Waltz” makes great use of the cello before erupting into manic prog-rock.

Not so surprisingly, the members here come from the classical and jazz scene in New York, and their sharp talent allowed them to record this live in the studio with minimal overdubs. A band truly with a sound their own, let’s hope more is coming soon from Forever House.

Travels well with: Teething Veils- Sea And Sun; Megafauna- Welcome Home

No State Solution

Self-Released, 2018

8/10

Listen to No State Solution

While 2017 brought us Outside The Comfort Zone from these Houston stars, 2018’s No State Solution gifts us with new remixes, new videos and newly remastered tunes from their previous 6 albums.

As always, the band’s hybrid version of ska, jazz, Indian music, African sounds, klezmer, salsa and cambia influences are first rate and the horn driven atmosphere ranges from soothing to tumultuous and is always precisely emotive.

The remixes present are handled by DJ Sun, also a Houston resident, and Free Radicals drummer Nick Cooper, and songs like “Screaming” standout with a rougher edge and strong sax work, while selections like the remastered “La Frontera” are busy with a mysterious backdrop. The Dub Remix of “Spacewitch”, one of the highlights, finds the band exploring their psychedelia side with tremendous results.

An outfit who have thrived for over 20 years now, their dynamic chemistry is unwavering across these 25 eclectic tracks that no one could replicate with so much skill.

Travels well with: Fela Kuti- Zombie; The Meters- New Directions

Now Residing Abroad

Stone Garden, 2018

8/10

Listen to Now Residing Abroad

Formerly of Pop Art and Smart Brown Handbag, Los Angeles veteran David Steinhart spearheads The Furious Seasons, who are now down to a threesome for the 2nd album of tunes that pull from decades of musical experience.

“Expo Line” starts out with gorgeous vocal harmonies that accompany the string picking, and this formula essentially comprises the entire album as the trio become a mini orchestra. Though David Steinhart is front and center, his brother Jeff holds down stand up bass and Paul Nelson on guitar/vocals, while slide guitar and keys are used sparingly and strategically. Lyrically, the album is exceptionally poetic and insightful, and fits the sophisticated interplay between the instruments fluidly.

Recorded mostly live, “The Muse” has plenty of overdubbed vocals that add greatly to the tune and help punctuate the soaring climate and the melodies that would make Brian Wilson jealous. Another highlight, “The Loyal Canadians”, born out of the 2016 election, puts a multifaceted spin on Americana with their flowing chemistry, and though there’s not a dull tune included, the intricate guitars on “Marathon” and the experimenting of time signatures on “Tethered” are certainly noteworthy.

A band with a timeless storytelling ability and an unparalleled amount of talent, though they may be down to just three members, their rich, textured sound twists and turns with easily appreciable pop, folk, and Americana ideas.

Travels well with: Cat Stevens- Catch Bull At Four; Simon & Garfunkel- Sounds Of Silence

The Griot

Hot Toddy, 2019

9/10

Listen to The Griot

At 74 years old, Gaye Adegbalola is about as outspoken as one can get, and here she addresses current issues like sexism, poverty, mental illness and many others with her gritty blues flavor and well aged wisdom.

An insightful and witty album, “Nothing’s Changed” starts out with upbeat folky instrumentation and sharp lyrics, and leads into the spoken word “The Griot”, which serves as a mission statement for Adegbalola’s work, i.e. a traveling poet who addresses the ills of society.

Later tracks like “Liearrhea” tackle hypocrisy with a banjo and swampy blues, while “FGM (Female Genital Mutilation)” is a spirited, soulful look at deep rooted sexism. “(You’re) Flint Water” recruits bright horns and a rock’n’roll groove for a well warranted diatribe, and even though at its core this is a protest record, songs like “Ain’t Technology Grand” are a humorous jab at today’s reliance on tech, and the sassy, ultra soulful “Need A Little Sugar In My Bowl” is a forthright declaration of a woman’s needs.

Adegbalola has a long history with music, going back to her band Saffire- The Uppity Blues Women, who existed from the mid ‘80s to 2009, and this album of ‘topical blues for topical times’ (as she puts it) is a fine display of her vocal, guitar and harmonica skills with fierce, eloquent wordplay.

Travels well with: Hamell On Trial- The Happiest Man In The World; Nina Simone- Central Park Blues

Lost In Space

Easy Star, 2019

8/10

Listen to Lost In Space

Much like the title implies, this time around Gentleman’s Dub Club inject a futuristic tone to their dub, reggae, ska, jazz and bass heavy sounds.

After a brief spaced out intro, “Light The Fuse” certainly does spark the inferno with dense rhythm, commanding vocals and plenty of ambience, and this spills over into the memorable and horn friendly “Stardust”.

Following the strong beginning, “Ground Shakin’” brings organs and horns for a cautious, warm spirited affair, and “Out Of This World” shows us soulful guitar work. Deeper tracks like “God Of War” recruit synth with great effect, and “Turning Back” features Millions Stylez helping out on vocals. The album exits on the rousing reggae of “Walking Away”, where Winston Francis contributes his pipes for the one of the best tracks included.

The UK future legends do a fantastic job of tweaking their sound while still remaining true to their formula, as this record stands out in a their expanding catalog of very well executed work.

Travels well with: The Specials- The Specials; The Kubricks- The Heist

Heard The Lie

Blue Elan, 2018

8/10

Listen to Heard The Lie

The Philadelphia native returns with her 8th album, and much like her prior work, it’s a mashing of many different genres, all delivered with her bluesy voice and songwriting prowess that she’s been honing since the age of 12.

Variety is certainly Sicilia’s strongpoint here, as she moves deftly from the gospel sounds of “Light Me Up” to the key heavy R&B of “How Many Times”. “Ready For Love”, the lone cover, brings a soulfulness with organs, and the only duet, “Brighter Day”, with Janiva Magness, is an optimistic, playful and lush collaboration. Though primarily an upbeat affair, the rugged, handclapping piano balladry of “Man In The Sky” shows us Sicilia’s softer textures with great results.

Now a Nashville resident, songs like the twangy guitars of “I Do Bad Things” and the more traditional country balladry of “Sugar” seem fitting considering her new home, though the album has a whole contains a rootsy, warm spirit endemic to Music City U.S.A.

An extremely prolific artist, let’s hope that Sicilia continues this pace cause her blues based approach opens its arms to ideas and avenues that easily make her a standout songstress.

Travels well with: Joan Osbourne- Breakfast In Bed; Beth Hart- Bang Bang Boom Boom

Sings Little River Band: The Hits Live In Studio

Social Family, 2019

8/10

Listen to Sings Little River Band- The Hits Live In Studio

Though Glenn Shorrock was been the driving force behind several bands, here he covers some of his own work that was originally recorded as Little River Band, the seminal outfit he fronted from 1975-1982 and 1987-1996.

“It’s A Long Way There” starts with bluesy guitars and Shorrock’s sturdy, wise vocals, before “Help Is On Its Way”, which is a quick paced retro-rocker. “Home On Monday” then shifts gears into a cautious, rootsy affair while “Shut Down Turn Off” brings horns into a festive atmosphere.

Late album highlights include the modernized “Cool Change” that puts piano at the forefront with soulful balladry, while “The Night Owls” is a loud, busy, bluesy rocker with warm guitars, and is easily the most forceful track present. The album ends on the jazz influenced and moody “Reminiscing”, another classic song touched up just right.

In a career that has been spread across 50 years, Shorrock still remains quite prolific, and these new versions of some of his best work sound better than ever, especially in this studio live setting. Despite Shorrock having a rocky relationship with the current version of Little River Band (which includes no original members), he can still illuminate the past in bright, creative and timeless ways that no one else could or really should.

Travels well with: Eagles- On The Border; The Doobie Brothers- Takin’ it To The Streets

Funk In France: From Paris To Antibes (1969-1970)

Resonance, 2018

8/10

Listen to Funk In France

The first official unreleased Grant Green material in over a decade, Funk In France delivers 2 discs covering Green’s move into heavier, funkier sounds at the onset of the ‘70s from 3 separate recordings.

On the first disc, Green takes up company from Larry Ridley (bass), Don Lamond (drums) and Barney Kessel (guitar) on “"I Wish You Love”, whereas on disc 2 Green’s accompanied by Claude Bartee (sax), Clarence Palmer (organ) and Billy Wilson (drums).

One of the best jazz guitarists of his time, songs like “I Don’t Want Nobody To Give Me Nothing (Open Up The Door I’ll Get It Myself)” exemplify this perfectly with his elegant and playful control of the instrument, while “Oleo” brings tumbling percussion into Green’s unimaginably complicated acrobatics. These first 6 tracks were recorded in 1969 at la Maison de la radio in Paris, and if not for the audience clapping at the end of each track, one would never know it was a live setting.

Of the recordings from 1970, all 4 of them run 14-27 minutes each, with 2 versions of “Upshot”, which brings more soul to the equation, and the second version has organs adding to the experience. “Hurt So Bad”, on the other hand, puts tenor sax into the spotlight, and once again proves just how talented Green was.

In addition to the remastered tracks transferred direct from the original tapes, we get a good sized booklet of essays, interviews and unpublished photos. Had Green lived a bit longer (he died at age 43) there is no doubt he’d be a household name today, and since so much of his recorded material is obscure, this package is a great way to pay homage to an underappreciated legend.

Travels well with: Wes Montgomery- A Day In The Life; George Benson- It’s Uptown

Slick! Live At Oil Can Harry’s

Resonance, 2018

8/10

Listen to Slick! Live At Oil Can Harry’s

Recorded at the popular club in Vancouver, Canada in 1975 with the mostly Detroit based band of Emmanuel Riggins (electric piano), Ronnie Ware (bass), Greg Vibrations (drums) and Gerald Izzard (percussion), this was originally a radio broadcast that’s been resurrected from the original 10” reels to a much more crisp sound.

The nearly 10 minutes of “Now’s The Time” leads the affair on a Charlie Parker tune with plenty of swinging sounds, bebop flair, and an ultra bouncy and frisky rhythm section. Antonio Carlos Jobim’s “How Insensitive (Insensatez)” follows and works with calming, memorable rhythms for nearly have an hour.

The final track is a true masterpiece, a medley of “Vulcan Princess”, “Skin Tight”, “Woman’s Gotta Have It”, “Boogie On Reggae Woman” and “For The Love Of Money”, where jazz, bebop, funk and R&B all meet for a stunning performance of an artist at his creative peak.

Recorded less than 4 years before his death in 1979, Slick! documents Green’s transition into funk territory, and captures his unparalleled navigational skills around a guitar. Also possibly his only performance in Canada, this is a treasure that certainly deserves the physical release treatment. Also be sure to also check out the stunning companion album, Funk In France, which also brings to life Grant Green’s underappreciated work.

Travels well with: Wes Montgomery- Road Song; George Benson- Bad Benson

Begin The Agora

Self-Released, 2018

8/10

Listen to Begin The Agora

Not only is Greg Diaz a tenor sax luminary, but he’s also a hell of an arranger, and here he brings big band sounds to 3 originals and 2 inventive covers with the 17 band members of The Art Of The Imagination Jazz Orchestra.

The 5 track listen stars with “The Navigator” (Kevin Eubanks), which gets full and playful while allowing guitars, keys and sax to shine, while “Circadia” follows with a horn heavy atmosphere the breeds plenty of lively rhythm despite being a bit more subdued.

The only tune with singing, the medley “Brother John/2nd Line Strut/Iko Iko”, finds Diaz taking up vocal duties on a heavily New Orleans influenced hybrid, and the soulful spirit continues with the bluesy “Frank Blank” where horn solos really add to the experience. The closer, “Being The Agora”, finds contributions from many players in this ideal conclusion to a listen with a wealth of talent on hand.

Indeed artistic and imaginative, these Floridians get much done in under 40 minutes with an eclectic, melodic and modern jazz record containing excellent, collaborative musicianship.

Travels well with: Neville Brothers- Valence Street; Michael Brecker- Tales From The Hudson

American Music Vol. VII

Blue Corn, 2019

8/10

Listen to American Music VII

Now nearing 2 decades as a band, Austin’s Grupo Fantasma have a lot going for them beyond a Grammy Award, and this 7th album puts a new spin on their inimitable sound. A listen heavy on Colombian folkloric sounds, the many players on hand transcend culture, time and genre for this highly unique and constantly shifting affair.

While “El Fugitivo” starts the album with their trademark jam style mashing of sounds where percussion and accordion make an impact, it isn’t long until “Que Es Lo Que Quieres De Mi?” packs in plenty of rhythm that’s rich with tradition, while the English sung “LT” features Turkish psychedelic ideas.

Elsewhere, “The Wall” recruits Latin funk and hip-hop with smooth vocals and a sleek atmosphere, and “Nosotros” yields a big rock tune with a bouncy setting and crunchy delivery. “Let Me Be”, another track in English and one of the album’s best, is layered in soulful, festive template where countless ideas are fleshed out with impressive results.

Near the end, “Cuidado” is a horn filled, dance friendly journey and “Yo Quisiera” breeds blues and a softer, island breeziness that’s less hectic than much of the record, but no less impactful.

Whether you fancy rock, surf, soul, funk, Tex-Mex, mariachi, cumbia or any sort of music that is somehow related to Latin sounds, American Music Vol. VII will have plenty to offer you in the way of spirited, stimulating and thoughtful art.

Travels well with: Very Be Careful- Daisy’s Beauty Salon; Mati Zundel- Amazonico Gravitante

Dirty Work

Fool’s Gold, 2019

7/10

Listen to Dirty Work

Indie-electronica from Canada, Hero doesn’t squander a second here with dark dance floor sounds and an eclectic atmosphere on this quick listen.

The EP opens with “0.09”, a brief, repetitive sci-fi meets club friendly instrumental, and “Stay The Night”, the first single, brings us modern disco with a moody beat. Deeper cuts like “Nightcrawler” mesh R&B with EDM with heavily processed vocals, and the hazy, skittering synth of “Cab Ride” explores Hero’s versatility. The highlight track, “Dirty Work”, is an ultra melodic and romantic tinged stunner that alone is worth the price of admission.

Written, sung and produced entirely by Hero, though this is a crowded genre to make a dent in, Dirty Work appears to show the inklings of a major force in the EDM, R&B, indie-tronica scene.

Travels well with: Daft Punk- Human After All; The Chemical Brothers- Further

Intimate Adversary

Tall Grass, 2019

7/10

Listen to Intimate Adversary

A jazz drummer who began honing his craft at age 4, Jack Mouse has played alongside countless jazz legends, and even though he’s a professor now, he still finds time to record new music.

“Barney’s Fife” sets the mood well with its swift percussion and bright horns, before the calmer and soulful “Old, New & Used Testaments”. The band explore many different avenues here, including the low and slinky “Intimate Adversary”, the late night grooves and retro setting of “Nineteen Sixty-Five”, and the busy, heavily rhythmic “Three Heads Are Better Than One”.

An album that encompasses many forms of the post bop era jazz, Mouse and company also embrace ‘50s swing and mild gospel blues influences in this versatile and highly intriguing effort.

Travels well with: John Scofield- Blue Matter; Scott Colley- Time And The Infinite

You And I

Self-Released, 2018

7/10

Listen to You And I

The list sure is short of actors who are also musicians that actually make the transition well, and Jon Patrick Walker has certainly made the cut. This time around he’s got 6 new tunes for us, including a duet, and a whole lot of eclectic sounds that are rich, timeless and nostalgic.

On the first track, “Your Open Hand”, Walker’s wife Hope Davis, who is also an actress, joins him on vocals for a folksy, acoustic stunner where the delicate male/female vocals complement each other. All the remaining tracks retain a similar beauty, but shift in direction from the hushed Americana of “I Won’t Sit Around & Cry” to the blurry baroque pop and jazz influences of “You And I”, where a whistle solo really adds to the experience, while the retro rock of “Guilty Party” brings us right back to the ‘70s.

The last 2 tracks are among the best. “Jack O Bells” is a stylish rocker with keys, shuffling percussion and blues feelings, while “I Can’t Not Do The Robot (When I’m Dancing With You)” is a fuzzed out explosion of old school garage rock that’s highly danceable.

An EP that’s got something for everyone, Walker knows his way around a tune just as well as he does a stage, and if you’re looking for a way to test the waters of his songwriting prowess, You And I would be an ideal beginning.

Travels well with: Dex Romweber- Carrboro; The Velvet Underground- Loaded

Tenor Time (A Tribute To Tenor Masters)

Ninjazz, 2019

7/10

Listen to Tenor Time

Thought Jorge Nila handles tenor saxophone here, he’s in great company with Dave Stryker on guitar and production duties, Mitch Towne on organ and Dana Murray behind the drum kit. Inspired by the work of tenor sax legend Lester Young, Nila and company, all of which are from Omaha originally, pay tribute to all the great tenor sax musicians spawned from Young’s playing.

Dexter Gordon’s “Fried Bananas” starts thing off with Nila’s sax taking focus with blues influences, but still allowing the band their share of the limelight, before Hank Mobley’s “Soul Station” that gets a calmer, gospel reworking with Stryker’s guitar getting a fluid solo. Though big names like Stevie Wonder and his tune “Rocket Love” are covered with an adventurous spin and great interplay between guitar and drums, lesser known names like Harold Vick earn a spot with the funky shuffling of “Our Miss Brooks”.

A record that’s as fun to listen to as you might think by peering at Nilla’s resume (he’s worked with Paul Simon, The B-52’s, Eddie Palmieri), him and his Nebraska born band make for plenty of tenor saxophone playfulness that spreads wide across the jazz spectrum.

Travels well with: Dana Murray- Negro Manifesto; Dave Stryker- Strykin’ Ahead

Songs From The Cultural Backwater

Self-Released, 2019

8/10

Listen to Songs From The Cultural Backwater

The current keyboardist for Dead Can Dance, Jules Maxwell has been a prolific composer since the '80s, but usually for other artists. Here on his solo debut he let’s us in on tunes he spent 5 years recording at his home studio, and it’s a varied and intimate look into his creative mind.

“Blowtorch” starts the listen with a slow burning, sparse tune where Maxwell’s crisp vocals are the focus, and “Good Ghost” follows with fuller keys and horns to punctuate the affair. Though the album is certainly vocally focused, songs like the chamber-pop of “The Wilderness Of Lorine” and haunting “Same Mistakes” rely heavily on instrumentation to create a textured, moving atmosphere.

Though much of the album involves piano and singing, the playful “Hole In The Head” is a percussive highlight, and “Give Up The Band” an unassuming blues tune, though we can’t not mention the duet with Louise Wallace, “Last Train To Limerick”, where her lovely pipes mix well with Maxwell’s fragile delivery.

A subtly powerful album, even though Maxwell has made an esteemed career out of being away from the spotlight, here he’s the centerpiece, vulnerable and baring his soul in song with breathtaking results.

Travels well with: Jimmy Webb- Ten Easy Pieces; Foy Vance- The Wild Swan

Sun Is A Star

Self-Released, 2018

8/10

Listen to Sun Is A Star

Perhaps the first super group in the world of kindie-rock, Lou Gallo (Lou Gallo & The Very Hungry Band) has teamed up with his real life offspring Frank Gallo (Rolie Polie Guacamole) for this first album as Like Father Like Son, but the 7th family album for both of them.

Logically, there’s many tunes here about father and son, most obviously “Like My Dad”, which is a warm acoustic strummer and the groovy “Like Father Like Son”, though a variety of themes are explored and an endless amount of sounds, too. While the album leads with the playful, rhythmic pop-rock of “Sun Is A Star”, “Halloween Song” is a spooky, quirky adventure. True to their chosen genre, there’s plenty of tunes for the little ears, including the folksy pop of “She’s A Dog”, the highly danceable “Shake Shake Shake”, and the summery, acoustic “Tennis Racket Song”.

A pair of fun covers are included, as Harry Belafonte’s traditional “Day O” gets a fresh coat of paint with a brighter approach, and the warm, country rock of “Handle With Care” that was popularized by The Traveling Wilburys is reinvented with a youthful spirit.

As to be expected with the talent on hand, the family duo bring an immense amount of skill and playfulness to the record while exploring subjects we can all relate to. A perfect family album, let’s hope this father and son combination have more for us in the future.

Travels well with: Rolie Polie Guacamole- Chips & Salsa; Lou Gallo & The Very Hungry Band- Walk The Dog

Master Of None

Self-Released, 2019

9/10

Listen to Master Of None

The front woman for Absinthe Junk, as Luxury Eviction Blair B goes an entirely different direction with sparse tunes that were recorded in a raw environment with minimal production.

The title track, “Master Of None”, starts the intimate album with light keys before building into a slightly haunting but gorgeous display of chamber-pop sounds. “Dragonflies In Hurricanes” follows and is a bit more experimental with layered vocals and occasional synth, before the electro-pop and groove oriented “Altered Cinder”.

Blair’s voice is, of course, the spotlight here, and songs like the orchestral, aching “On Your Tongue” show us what she is capable of, and that’s punctuated on the melodic “Catching Fire” where she resembles a youthful, edgier version of Tori Amos. The quick listen ends much like it starts, with bare piano and a hushed, introspective voice that emits much beauty.

While there exists plenty of artists who are opting for gentler outlets for their musical outpouring, few will parallel the ambient, classical, folk and pop stylings of this stunning record.

Travels well with: Emily Jane White- Ode To Sentience; Marissa Nadler- The Sister

Communion In The Ashes

Black Mesa, 2019

9/10

Listen to Communion In The Ashes

Though M. Lockwood Porter has made most of his music while living in the Bay Area, he’s now back in his home state of Oklahoma, and on his 4th album, Communion In The Ashes, he brings an anthemic quality to songs about modern day social problems, something he experienced first hand during his time as an educator.

The title track starts the album with driving guitars and a thriving rock’n’roll spirit that’s somewhere between power-pop and alt-rock, and “Waiting For A Sign” brings keys to a calmer atmosphere of melodic sounds. “Broken Light” gets a bit on the rugged side of Americana, and “Didn’t Know What Love Meant” recruits breezy tunefulness with a retro feel, while “Get Back To The Wild” starts sparse before settling into an experimental, busy adventure.

The listen stuns later on, too, with the piano led, gospel influenced “I Will Do No More A-Prayin’”, the ‘80s nods and New Wave stylings of the playful “The Dream Is Dead”, and the crisp indie-rock and intricate guitar solos of “This Fear Won’t Control Me”. Porter exits on “Nowhere Left To Run”, an agile closer of quaint keys, brushed percussion and ultimately a smart, insightful exit that punctuates the themes surrounding the record.

Porter retains a sage-like ambience not unlike Costello, Dylan or Springsteen here, and his youthful hooks and punchy songs are the sort that make you stand up and pay close attention right from the get-go. Ultimately a protest album, albeit in a more subtle way than we are used to, Porter and company display the sort of dynamic chemisty and sharp songwriting prowess that’s synonymous with ‘album of the year’ potential.

Travels well with: Bright Eyes- Digital Ash In A Digital Urn; Wilco- The Whole Love

People Of The Sun

Blue Note, 2018

8/10

Listen to People Of The Sun

The longtime Brooklyn composer and saxophonist Marcus Strickland has been experimenting with sounds outside of his known jazz roots in recent years, and People Of The Sun continues this trend by examining African influences alongside his sonically engaging dynamics.

Despite the opening tune, “Lullaby”, essentially being contemporary jazz with clarinet and organ punctuating the mood, the following track, “Timing”, brings us into funk and Afro beat ideas. This exploratory vision is also apparent in the hip-hop influenced “Cloaked In Controversy” while “On My Mind”, which is narrated by Greg Tate, touches on prog-rock.

Though Strickland gets plenty of help here, his tenor sax takes center stage on the post-bop sounds of “Relentlessness”, and on “Aim High” he brings along the spirit of Fela Kuti with handfuls of harmony. And while People Of The Sun is heavy on instrumentation, vocals from Jermaine Holmes, Bilal and Pharoahe Monch bring even more diversity to the affair.

A rich and soulful effort, People Of The Sun isn’t quite jazz and it’s not exactly hip-hop, but it does find a very unique spot somewhere in the middle and recruits heavily from both Africa and America for a very busy display of unmatched talent.

Travels well with: Dana Murray- Negro Manifesto; Branford Marsalis Trio- The Dark Keys

Bad Tattoo

VizzTone/Finedog, 2019

9/10

Listen to Bad Tattoo

Even though Mike Schermer brings along several guest musicians on this 7th album, there’s no doubt that these 12 tracks are his vision, as he wrote, sung and played guitar on all of them. While the album title and some subject matter may cause you to grin, there is some seriously detailed blues, R&B, rock, country and Americana to be found on Bad Tattoo.

“She Won’t Be Coming Back” gets the party off to a shuffling start with blues guitars, saxophone fun and a retro spirit, and “Lover’s Hall Of Fame” follows with a laid back groove fit for an island adventure. Even though Schermer and company tackle some serious topics, “Bad Tattoo” brings humor to a soulful tune with horns, keys and warm guitar riffs and the organ fueled “How Much Longer” a romping festive offering.

The back half of the album offers us the upbeat and positive “One Thing Every Day”, where backing female vocals complement the atmosphere, the rock’n’roll pace of “Hey Francine!”, and the swampy southern rock sounds of the harmonica heavy “Baby Down The Well”. The album ends on the rugged and wise “Stop Looking For Love”, and “Up All Night” finishes the good time where keys bring the blues in spades on the ultra-stylish conclusion.

Schermer has an impressive resume playing with Bonnie Raitt, Elvis Bishop, Howard Tate and many others and currently tours with Marcia Ball. His lengthy career and vast experience help make Bad Tattoo an immediately memorable album that will played for decades due its timeless appeal and hook filled nature.

Travels well with: Albert Collins- Frostbite; James Hunter- The Hard Way

Venetian Blinds

Vibes Out Front, 2018

7/10

Listen to Venetian Blinds

A heavy hitter in the area of jazz, contemporary and world sounds, this time around Mike Freeman ZonaVibe takes nods at Tito Puente and Bobby Hutchinson with his Latin jazz and swing sounds.

While Freeman handles vibraphone and coro, his esteemed band holds down trumpet, congas, campana, and guiro among others. Guided by rhythm and the dynamic interplay between the musicians, “House Of Vibes” is never short on warm horns, while “Fancy Free” brings us playfulness between the trumpet and vibraphone. Entirely melodic, but not in the traditional sense, “Night Crawlers” is a stand out with blissful melodies, while the percussive elements of “Clutch The Hutch” reach next level skill sets.

Highly groove oriented, Freeman’s been active since the early ‘80s and brings that lengthy experience as he appears to not be slowing down one bit. Essentially paying homage to two of his idols here with easy listening Latin jazz, Samba influences and shifting tempos with complicated yet embraceable musicianship, Freeman proves he’s still flourishing into his later years.

Travels well with: Cal Tjader- Breathe Easy; Tito Puente- Bossa Nova

Molly Tigre

Very Special, 2018

8/10

Listen to Molly Tigre

While we’ve heard countless variations on just about every genre from Brooklyn, Molly Tigre’s fusion of ‘70s African sounds of blues, Sahara Desert and Ethiopian ideas that produce endless melody sans guitar might be a new one.

“Hello Bolly”, a nod to Bollywood, starts off the affair with bright horns and rhythmic hooks galore, before the calmer, funky and groove heavy “Lebanese Blond”. Often percussion focused, songs like “Couscous Timbuktu” and the acrobatics of “Y Knot” are proof that a guitar isn’t necessary for a highly melodic album, and elsewhere, on the stunning “Slush Fund”, organs come into the spotlight while“Yekerno Sew” illustrates a brilliant interplay between alto and tenor sax.

Though this might be a debut for Molly Tigre, the players here come from legends like Super Hi-Fi, The Ramones and Japonize Elephants, and it shows in this culturally progressive and highly enjoyable listen.

Travels well with: Super Hi-Fi- Blue And White; Aphrodesia- Precious Commodity

Starkiller And The Banshees

Third Eye, 2018

8/10

Listen to Starkiller And The Banshees

The first album from New York’s The Mountain Carol has plenty of unusual and highly embraceable sounds, as the experimental outfit show an affinity for pop, electronica. jazz and avant-garde ideas that never follow predictable patterns.

“Dino” starts out with moody pop sounds against the deep vocals, and builds into a tense, prog-influenced affair, and that creativity spills over into “The Mountain Carol”, which is a calm, atmospheric tune that carries a chilling post-punk vibe.

Though there may only be 7 tunes present, the band cover a lot of ground as “Essex Ferry” is a synth fueled, dark rocker, while “Adventure Safari” is a key driven, ambient tune with experimental touches. Late in the album “Sway” brings us a hybrid of electro-pop flavor with a soulful, jazz tinted edge, which further exemplifies how varied The Mountain Carol can get.

A listen that will yield new finds with each subsequent listen due to its intricate nature, fans of atypical and inventive textures that scan many decades and walk delicately over countless genres will be impressed with Starkiller And The Banshees.

Travels well with: Future Islands- Singles; Ought- Sun Coming Down

In Two

Modern Outsider, 2019

9/10

Listen to In Two

Though at their inception they were Brooklynites, these days Moving Panoramas, i.e. Leslie Sisson, resides in Texas, and her charming and irresistible brand of dream-pop brings in stars from Nada Surf and A Giant Dog on this sophomore record.

The album opens with one of the best tunes, “Baby Blues”, where fuzzed out shoegaze impresses with soaring pop influences, and “Dance Floor” follows with all sorts of sweet, jangly fun. “Home Alone” then shifts into mysterious post-punk territory, while “On Hold” shows a more introspective and moody angle. Though the band are certainly indebted to the ‘80s, “Forever Gone” goes back further with an oldies vibe where Americana influences seep in.

The second half brings out guest vocals from Matthew Caws on the subdued and stylish “In Tune”, and “Whiskey Fight” recruits Sabrina Ellis for a silky smooth, swift rocker. The best moment, though, is the driving alt-rocker “ADD Heart” that swirls with melodica while utilizing steel guitar and manages to be rugged while still being drenched in syrupy sweet pop.

A really cohesive and striking listen of lifting melodies, glorious reverb and throbbing, efficient musicianship, traces of punk and even country invade these glorious tunes that you’ll really struggle to get off your mind- not that you’d want to, anyway.

Travels well with: Belly- Star; Lush- Spooky

Mostly Happy

Adult Teeth, 2018

8/10

Listen to Mostly Happy

The sophomore album from the UK songwriter who describes his work as ‘mostly pop’, Mostly Happy may take on comical themes but the weirded out songcraft is absolutely serious.

“These Things Take Time” starts the oddness and sounds nothing like The Smiths, and instead fuses electro-pop and quirky rock, and “Fluorescent Jacket” follows a similar path with video games and pulsating dance rock.

Slower tunes like the organ fueled “Tesco Elvis” pair well with the ultra speedy and fuzzed out “I’m So Happy”, but really, though, each song brings a new surprise, from the soulful start to metallic chugging of “Guy At Gig Wearing A Backpack” to the lo-fi and sparse sounds of “No Tools Are Left In This Vehicle Overnight”. “The Wednesday Excuse” even offers spoken word and references all sorts of pop culture in a clever fashion.

Best titled songs in recently history include the strong beat of “Thank You For Alphabetising My Spice Rack” that flows with the wacky greatness of They Might Be Giants, and “Dealing Drugs In Burger King”, which sits on the cusp of country with a lightly strummed guitar and brushed percussion.

Released just 6 months after his first album, in his quest to release as many records as he can before he dies, let’s hope another one is around the corner. Though one might think of this as a novelty act, truth is My Pleasure has cornered an aspect of pop music underexplored and a whole lot more interesting than most of what’s out there today.

Travels well with: Har Mar Superstar- You Can Feel Me; MC Lars-This Gigantic Robot Kills

Boocheemish

Prophecy, 2018

8/10

Listen to Boocheemish

The Bulgarian outfit, formerly known as Le Mystere Des Voix Bulgares, return after a two decade hiatus from new studio material, and Dead Can Dance’s Lisa Gerrard is on hand to lend her talents on a few tracks of classical and world music ideas that are choir focused and both soaring and haunting.

Though stringed instruments, guitars and percussion are used here, much of the songs are a cappella, as the women who are The Mystery Of The Bulgarian Voices radiate enough lush sound themselves. Of the songs that Gerrard helps out on, “Poro Sotunda” is a particularly layered and sublime offering, while “Unisom” is a playful and percussion backed highlight. Perhaps best described as ‘the marriage of avant-garde and the Middle Ages’, the ensemble plug some new ideas into their formula with the strong beats in “Rano Ranila”, and fellow Bulgarian SkilleR brings his mouth acrobatics into a few tracks with his beatboxing skills.

An extremely powerful album that injects contemporary components into their tried and true sound, the 1000 year approach of their choir is not tarnished from the modern twists, but only amplifies their unique, boundless art.

Travels well with: Marissa Nadler- The Sister; Meredith Monk- Book Of Days

Old World

Mountain Home, 2018

7/10

Listen to Old World

This follow up album to 2016’s Harlan Road from the Kentucky progressive acoustic sensations highlights the dual gender vocals of Kati Penn and her husband Jr. Williams, as well as the timeless bluegrass sounds of their esteemed band.

A listen that continually shifts in mood, the opener “Fly Away” starts off with acoustic sounds against Penn’s soaring vocals while the male vocals and fiddle acrobatics comprise “Evangeline”.

While some of the moodier tunes include the lush “Heart Of Stone” and emotive “Long Hard Road”, both penned by Tyler Childers, they each emit radiant, warm bluegrass ideas, while “Laura Lee” recruits blues influences. '“Naomi Wise” brings both vocalists together for an album highlight and the smooth, crisp listen closes with the pretty, soothing ballad “Never Miss The Sun”.

NewTown certainly do embrace all the hallmarks of bluegrass we love so much with strong vocal work and gentle, familiar instrumentation, and this release proves that they’re only getting better.

Travels well with: Chris Stapleton- Traveller; Sister Sadie- II

The Art Of Life

Pacific Coast Jazz, 2019

8/10

Listen to The Art Of Life

The guitar sensation returns with his 3rd album as leader, armed with his accomplished smooth and contemporary jazz sounds while also handling vocal and piano duties.

Included are 6 tunes, all but 1 being Johnson originals, and each one illustrates a different perspective of the talent on hand. “Slide” starts the affair and builds into a radiant groove, and “Sing On” follows with an R&B flavor where Grayson Hugh brings in vocals. The calmest offering is the title track, where Norman’s fluid guitar work is front and center, and in “Old Skool” he balances his guitar with the horn section.

The end of the EP brings in vocals from June Bisantz on “It’s You”, and the Latin influenced “Summer Dance” brings new meaning to the term smooth jazz as the musicianship glides together with warmth and playfulness.

Though Johnson hasn’t been playing for as long as some of his peers, his skills are highly developed and easily absorbed, and The Art Of Life is sure to be adored by fans of not only jazz but ultra melodic sounds as well.

Travels well with: George Benson- Body Talk; Earl Klugh- Crazy For You

Always All Around You

Self-Released, 2018

8/10

Listen to Always All Around You

A 30+ year veteran of saxophone and avant-garde sounds, these days Salant is in NYC and has resided well under the radar for many years, despite renewing his love for songwriting. On this second solo album of 2018, he explores his depths as a composer, and often times goes the other way from where his roots were planted.

Though Salant has a long history with the saxophone, he starts this out this with acoustic guitars on the folky “At The End Of The World”, where soft female backing vocals and keys punctuate the warm, timeless appeal. “The World’s Greatest Love” follows with a more upbeat feeling, and seems reminiscent of ‘70s folk and brings us the first peek at Salant’s sax skills. Largely an upbeat album, tunes like “Feels Like Rain” sit pretty close to pop-rock, while the bouncy, retro sounds of “The Whole Wide World” will have you digging out your Beatles albums.

The softer moments include the pop balladry of “Grace (Love Song 25)”, and the breezy strumming of “The Civil War”, though the end of the album is highly reflective with pensive instrumentation from Salant’s deep arsenal of talent.

A nostalgic listen from a man with much life experience, if you’ve been following Salant’s career, this might appear a little too straightforward for you, but the landscape changes from minimalist to busy and tracks well along folk, pop, Americana and even psyche-rock boundaries on this poetic, well thought out effort.

Travels well with: Paul Simon- Graceland; The Beatles- Sgt. Pepper’s Lonely Club Hearts Band

Nsimbi

Imara, 2018

8/10

Listen to Nsimbi

The American-Uganda power duo of GNL Zamba and Miriam Tamar, as Nsimbi the pair flesh out an album inspired by and based on Swahili proverbs that surrounds African culture while injecting plenty of textures from instruments we’re not so acquainted with in The West.

An extremely diverse listen, the two cover many genres here, starting with the opening groove filled “Dunia Ni Matembezi” that balances rapping and singing, though it isn’t long before the electric guitar focused “Mujje” brings us into strong rock territory. Further down the line “Flower Of The Heart” plunges right into hip-hop, while “Forsaken” is a pretty tune with folk leanings. A listen that’s percussive heavy, the playful “Koona” exemplifies this well, and “Omugga” allows traditional African instruments to highlight its busy nature.

The album is sung in several different languages, and together with esteemed East African musicians it’s a positive, uplifting debut of rich, cultured songcraft that explores much depth both lyrically and musically.

Travels well with: Angelique Kidjo- Spirit Rising; Ibeyi- Ash

Curve Of Earth

Full Time Hobby, 2019

8/10

Listen to Curve Of Earth

Though the Illinois outfit Ohtis have been around for over a decade, Curve Of Earth is their debut after an extended hiatus due to frontman Sam Swimson’s struggles with addiction, which bring plenty of lyrical fodder here, along with his being raised in an evangelical cult.

Largely residing in the dark corners of Americana and country sounds, “Pervert Blood” is a light and rootsy warm tune with vivid wordplay, and “Runnin” follows with a cozy country spirit where pedal steel and shuffling percussion punctuate the tone. Swimson is nothing if not poetic, and “Black Blood” cements this further with eloquent storytelling backed by dense percussion and swift alt-country instrumentation.

There is optimism to be found, though, as “Rehab” is one of the fullest songs, with a dance-friendly mood that’s playful and pop flavored where piano and slide guitar steal the show, however, the bulk of the listen is soft and slow burning, where tracks like the simmering “Diggin and the fleeting horns of “Junkie Heaven” bring vulnerable beauty. “Serenity Prayer”, the shortest track, closes the listen on charming and cautious bedroom pop.

A raw, all too real and extremely forthright record, while a decade and a half might seem a bit long for a first album, circumstances for this trio have finally lined up just right for this dreamy, honest and ominously graceful debut to come to life, thankfully.

Travels well with: Neil Young- After The Gold Rush; Noah And The Whale- The First Days Of Spring

Ayibobo

Ropeadope, 2018

8/10

Listen to Ayibobo

The Haitian-American multi-instrumentalist returns after a successful acoustic album in 2015, and this time he’s plugged in and meshing Haitian roots sounds, rock’n’roll and reggae that Beaubrun refers to as roots/blues.

A lyrically personal album, even though opening track “Naissance” is an instrumental tune of soulful guitars and worldly percussion, the title track follows and references Beaubrun’s relocation to New York from Haiti and brings passionate singing to the emotive rock .Elsewhere he finds a firm groove in “Why Don’t You Love Me”, and the 2nd song with love in the title, “Love Sick”, starts out with warm balladry before moving into guitar rock acrobatics.

Of the more reggae influenced songs, “Ezili” is a busy track with skittering percussion, while “Rise Up” calls for social activism and builds into a laid back, comfortable setting. “Ouve Zorey”, one of the album highlights, brings acoustic guitar into reggae ideas with great success, and reinforces how much talent is present here.

A very patriotic listen but not in the traditional sense, Beaubrun’s love for his country and his strong convictions are evident all over this, and his positive attitude and graceful observations make this album a breath of fresh air in a time with so much cynicism and tragedy.

Travels well with: Ben Harper- Give Till It’s Gone; Lakou Mizik- Wa Di Yo

Between Systems And Grounds

Carrier, 2018

8/10

Listen to Between Systems And Grounds

A highly unique album, Paula Matthusen handles electronics while Olivia Valentine holds down textiles, and together the pair align the practice of lace making with live electronic music.

Essentially feedback loops of textile construction and electronica, environmental factors like thunderstorms, frogs vocalizing, and the buzzing of an electric fence are part of the equation, too.

Using a very elaborate process of microphones, cassette recorders and electroacoustic devices, the sounds in the workspace are recorded and in the process it alters the fabric pattern. It’s a highly detailed excursion into field recordings, radio signals and tone manipulation that are time compressed into a very organic and ambient adventure.

The most obvious question here is, why exactly would anyone want to listen to this? It’s not exactly music, it’s not really even definable in any definite sense, as the sounds of lacework are basically the template for the album. However, from the beginning stark moments to the dramatic tension and ebbs of near stillness, it’s quite hard to stop listening to this once you’ve started.

Travels well with: Brian Eno- Ambient 4: On Land; Sound X Sound- Music For 8 Recorders

People Are My Drug

Thirty Tigers/Psychic Hotline, 2018

8/10

Listen to People Are My Drug

Phil Cook has paid his dues in bands like Megafaun, Gayngs, DeYarmond Edision, and Hiss Golden Messenger and on his own the North Carolina troubadour pens this sophomore album to his biggest inspiration of all- people.

Though Cook starts out in New Orleans with the southern feelings of “Steampowered Blues”, blues are just around the corner with “Miles Away”, where Amelia Meath (from Sylvan Esso) lends her pretty vocals. And speaking of vocals, on “Another Mother’s Son” a choir is brought in to punctuate the soulfulness of the tune, and the dreamy “Tupelo Child” is a breathy highlight of calm beauty.

Two covers are included, “Life” (Allen Toussaint) and “He Gives Us All His Love” (Randy Newman), the former being a percussive heavy and mature offering with quaint keys, while the latter is an example of sublime, lush and hectic atmosphere with backing female vocals and strategic use of piano.

Probably most closely resembling a gospel record, Cook puts his guitar, banjo and vocal skills on display here where songs about the human experience are both eloquent and insightful, and delivered with much warmth and timeless elegance.

Travels well with: River Whyless- Kindness, A Rebel; Justin Townes Earle- Kids In The Street

Caravelle Deluxe Edition

Hamburger/Ekleroshock, 2018

8/10

Listen to Caravelle

The French duo of Polo & Pan see their 2017 album, Caravelle, get the Deluxe Edition treatment which tacks on an additional 5 tracks to the record including a mesmerizing remix by indie-pop sensations Superorganism.

If you missed the original release, the first dozen tunes from it reside here as and are inventive electro-pop with an occasional guitar riff and strategic vocal melodies mixed into dreamy, trance, eccentric atmospheres. The duo saw glowing reviews for the debut LP and it’s easy to see why.

Of the new tracks, Superorganism’s remix of “Canopee” shines the brightest, where the acoustic guitars of the original are set aside for a haunting, hypnotic adventure and plenty of sound effects, though the sleek and agile “Coeur Croise” which hosts a warm sax solo is a close second.

An ultra stylish and modern take on electronica and house music, it’s no surprise that Polo & Pan are playing Coachella in 2019; the pair have made quite a name for themselves in their relatively short yet radiant existence.

Travels well with: LCD Soundsystem- Sound Of Silver; Daft Punk- Human After All

Joy To The World

Self-Released, 2018

7/10

Listen to Joy To The World

While there’s plenty of Christmas albums out there, few are quite like this project. An assembly of worldwide musicians and influences, we’re treated to classics and originals on this cultured various artists effort.

The album starts out with Nossa Bossa Nova’s Portuguese sung “The First Noel”, which hosts a breezy and lounge flavored tone, and Arsopop’s “Astro Del Ciel” follows with acoustic sounds and a choir. Elsewhere the mood gets romantic with the French “Noel Avec Tol” from Frederick De Grandpre” while “Winter Wonderland” turns the quintessential Christmas song into a plucky, fun, ukulele tune.

Later tracks are just as eclectic. “O Natal Ja Comecou” is a piano song by the Portuguese duo Ines Pupo and Gonzalo Pratas, and “Little Drummer Boy” appropriately gets a percussive heavy reworking. Some of the best work is near the conclusion, where the Jamaican outfit The Mighty Diamonds turn in a reggae version of “Frosty The Snowman” and the record ends on the Hawaiian influenced “Christmas Island” by Leon Redbone.

Playing this album at your next holiday party might raise some eyebrows initially, but the international flair and highly well thought out music make this an attractive and interesting spin on a timeless concept.

Travels well with: Nossa Bossa Nova- Standards, Too; The Mighty Diamonds- Ice On Fire

Collagically Speaking

Blue Note, 2018

8/10

Listen to Collagically Speaking

The super group of Robert Glasper, Terrace Martin, Christian Scott aTunde AdJuah, Derrick Hodge, Taylor McFerrin, and Justin Tyson, the band’s first collective album brings a wealth of talent that emits soul, funk, jazz, hip-hop and even classical ideas.

Not only do the primary players bring their backgrounds to the table, but several guest vocalists are on hand, making this a grab bag of sounds that are constantly changing. While tunes like “The Night In Question” sit firmly in jazz fusion, and “Colors In The Dark” is more on the contemporary side of jazz, “Been On My Mind” will appeal to the New Age crowd and “Needed You Still” recruits hip-hop influences.

The R’s in the band’s moniker stand for Reflect and Respond, which they do eloquently and with much power here, and the collage of singing, spoken word and rapping suits the mature, eclectic landscape, and often touches on current social issues that still need so much attention.

A spontaneous endeavor from some very creative minds, this one is sure to make jazz fans do a double take, as it challenges the status quo in many ways with thriving results

Travels well with: Nina Revisited: A Tribute To Nina Simone; Robert Glasper- Canvas

Myopia

Mpress, 2018

8/10

Listen to Myopia

Rachael Sage has lived a creative life and dabbled in many forms of art, but thankfully she settled on music and her 14th album, Myopia, she shifts from a piano based effort to one where her guitar playing comes into focus.

“Alive” begins the album with strummed guitar and soft melodies of indie-folk, and even though “Spark” leads with keys, it’s a warm pop song with an orchestral slant. Generally an upbeat and sunny listen with vivid storytelling, “Sympathy Seed” is a bit darker in scope with soft trumpets, and the ominous subject matter of “Maybe She’ll Have Cats” doesn’t detract from the immense beauty present everywhere. As the record progresses, Sage spreads her wings into electronica on “Haunted By Objects” while “This Darkness” takes on blues qualities, although she’s at her best on the dreamy, wispy “Daylight”.

The lone cover is Howard Jones’ (who she has recently toured with) “No One Is To Blame”, which yields a cautious. soothing rendition of an ‘80s classic that really adds to the elegance found here.

Travels well with: Kate Bush- Aerial; Tori Amos- Gold Dust

We’re All In The Dance

Turtle Ridge, 2018

7/10

Listen to We’re All In The Dance

The esteemed jazz singer Rachel Caswell handles vocals here, and takes help from Sara Caswell (violin), Dave Stryker (guitar), Fabian Almazan (piano and fender rhodes), Linda May Han Oh (bass) and Johnathan Blake (drums) on 10 very unique interpretations from a variety of artists.

“Fragile”, originally by Sting, starts the album with a heavy mood, an orchestral back drop, a subtle beat and Caswell’s stunning vocals, and it’s not long before we’re in waltz territory on the album title track, “We’re All In The Dance”. Musically, “Drown In My Own Tears”, popularized by Ray Charles, with its bluesy guitars, and the funk of “Tell Me A Bedtime Story” are highlights, although when it comes to vocals, song like “Dexterity” and “A Lovely Way To Spend An Evening” bring us vocal scatting that few could replicate.

A very unusual covers album where Caswell reinvents songs in her own light, though she stays true to her jazz template there’s plenty of experimenting around the edges in adventurous, enlightening directions.

Travels well with: Shiela Jordan- Believe In Jazz; Nancy King & Steve Christofferson- Perennial

Run Tiny Human

Penury Pop, 2018

8/10

Listen to Run Tiny Human

Portland, Oregon resident Rachel Taylor Brown may not be someone most are familiar with, but spend some time with her 10th album, Run Tiny Human, and her name will be left indelibly marked in your brain.

An atypically creative and highly unorthodox songwriter, though the album leads with the beautiful piano ballad “Yourself (you)”, it abruptly moves into the dense and thick prodding of “Gitcher” before the swift piano rock of “Little Gyre” where Brown sings, shrieks and squeals in a manic display of fury and oddness.

But Brown has plenty more surprises, too. “Wedding Song (Bag Of Bones)” is a soft, sweet, tender moment that’s sparse, but later on “Maker” thankfully can’t decide if it’s uproarious folk or prog-pop and “March” takes on horns and clarinet for a baroque twist to her formula.

Part chamber music, part indie-pop and entirely unpredictable, there’s a lot going on in these songs as well as the recesses of Brown’s mind, and whether she’s singing about space junk falling from the sky, the ills of society, or ruminations of her personal life, we’re left hanging on every word.

Travels well with: The Sort Ofs- Anxiety On Parade; Chris Robley- This Is The

Music From The Rainbow Sparkle Palace: Volume 1

Self-Released, 2018

9/10

Listen to Music From The Rainbow Sparkle Palace: Volume 1

Kentucky singer-songwriter Rainbow Star isn’t your run--of-the-mill folk artist. A self-taught musician who lives in a 96 square foot home (Sparkle Palace) with an interest in atypical stringed instruments like the dulcimer, she makes audible art out of her stories that are raw, sweet and sometimes feisty.

“Mermaid Songs” starts the bare listen with quick strumming and her subtly powerful vocals which show incredible range, and the softer, pensive “Pyramid Song” follows. From here things remain generally sparse, but no less impactful, with the gentle and smoldering “Please Come” that builds into an ebullient highlight, and the Appalachian folk sounds of “No Shoes”.

While the album is mostly Rainbow Star handling guitar, ukulele and dulcimer and, of course, her comforting voice, songs like the mysterious “Ophiuchus” bring in fiddles and on “Berea” multiple backing vocals converge for one of the busiest tunes here that is universally embraceable. The lone cover is “Amazing Grace” which has been done to death by now, but somehow Rainbow Star puts a new slant on it with her colorful pipes and acoustic prowess.

Though she bills herself as ‘acoustic folk punk’, which is certainly true with her iconoclastic spirit never far from the surface, there’s also mountain influenced ideas and plenty of soulful spirit in this really powerful, stirring album.

Travels well with: Jolie Holland- Escondida; Ani Difranco- Allergic To Water

August 1791

Self-Released, 2018

8/10

Listen to August 1791

The 7th album from the Haitian outfit brings us a listen themed around the slave uprising of 1791, and hosts old songs reinvented in new light with RAM’s trademark powerful drumming and swirling melodies.

Not surprising, each tune here shifts its focus to different areas and would likely be filed under unclassifiable. While the ceremonial “Danmbala Elouwe” is driven by singing and chanting, lively percussion and fluid guitars, later tracks like “Negres Katye Moren” are sitting closer to world music funk. “Dominikani (Pap Janm Bliye)”, one of the best here, then brings reggae influences to the table.

Other noteworthy moments include the atypical drumming and organ fun of “Dawomen Dako” and the meticulous attention to rhythm on the upbeat, dance friendly “Maledve O”. A vocally strong effort, songs like “Badji Feray” use call and response techniques for effect, and it works well across the entire record, and contributes to the memorableness of the affair.

Though by design August 1791 is a Haitian blend of vodou and Creole folk ideas with Western African sounds, it truly comes off like a cultural party album with plenty of vocal harmonies and thriving rhythm that occasionally takes nods at Caribbean music. Now two and a half decades old, RAM are still refining their brand of unique energy that makes this so irresistible.

Travels well with: Paul Beaubrun- Ayibobo; Lakou Mizik- Wa Di Yo

Together

Mama, 2018

8/10

Listen to Together

A collaboration of a world renowned trumpeter, Randy Brecker, and esteemed composer Mats Holmquist, together the pair flesh out 9 long songs of big band jazz with the Umo Jazz Orchestra supporting the elegant affair.

“One Million Circumstances”, a Holmquist original, starts the album with bright horns and a bouncy atmosphere, before the reflective “Summer And Winter” where a glowing trombone solo is in attendance. Though there’s a large handful of players on hand, it’s Brecker’s flugelhorn that illuminates tunes like “Never Let Go”, while the orchestra adds greatly to songs like the cautious “My Stella”, and the sly balladry of “Always Young”.

Brecker’s been in the game for 5 decades now and his work here is as radiant as it’s ever been. However, these tunes were composed by Holmquist, and his unique vision of the standards and creative originals on his 9th album in this position are nothing short of sublime.

Travels well with: John Scofield- What We Do; Michael Brecker- Don’t Try This At Home

Lucky Enough

Green Mountain, 2019

10/10

Listen to Lucky Enough

I’m a little embarrassed to say that this is my first time listening to this Grammy nominated songwriter, seeing as how he’s put out 4 albums before this one, and if Lucky Enough is any indication, they were all brilliant, too.

A record born out tragedy, “Stealing Starlight” gets the album off to a lovely start with its melancholic and folk based acoustic strumming, and it flows well into the soft and sweet “American Miles”, which carries a hint of a haunting quality. As the listen unfolds, the songs become more complex, the stories more evolved, and influences moves from the country tinged “Long Time To Make Old Friends” and into gospel territory on “Carousel Horses”.

Foehl aligned himself with roots rockers The Band Of Heathens to support him here, and the pedal steel and harmonica on the reflective “Running Out Of You” and the jumpy keys of “Wish I Knew” make incredible songs that much more radiant, although Foehl certainly holds his own on the bare acoustic guitar ballad “Hello My Dear”.

The songs here were largely penned during the year and a half Foehl took care of his mom when she had lymphoma, and, as to be expected, Lucky Enough is a cautious, introspective masterpiece that’s eloquent, gorgeous and reels the listener in with its emotional draw.

To simply refer to Foehl as another thriving Americana artist would be doing him a monumental disservice; this is a man whose music will change lives.

Travels well with: Ryan Adams- Demolition; Rocky Votolato- Suicide Medicine

Arms Of A Dream

Arts & Crafts, 2018

9/10

Listen to Arms Of A Dream

There certainly isn’t any shortage of compelling Canadian indie-folk outfits these days, and Reuben And The Dark are surely near the top of that list.

This sophomore album continues with their cautious, calculated and thought provoking songcraft with the gorgeous opener “Wildlife”, which brings dreamy, cinematic, baroque pop, and the ebullient “All Or Nothing” immediately leaves an indelible mark. Often soft and contemplative, the sparse “Hurricane” builds into a percussive heavy gem, though the forceful indie-rock of “Dreaming” recruits an anthemic quality.

Later on in the listen things get even more creative as “Heart In Two” relies on an orchestral backdrop, and “Hallelujah” is essentially their version of a gospel tune. “Woke Up A Rebel” is a loud and dramatic song that moves with lush tension, and illustrates just how much diversity Reuben And The Dark possess.

An expansive folk-rock album of the highest caliber, the production here is top notch and really illuminates the songs with a crisp, in depth, all encompassing sound. A truly monumental, inspiring effort here.

Travels well with: Yukon Blonde- Tiger Talk; Said The Whale- As Long As Your Eyes Are Wide

Frozen Flowers Curse The Day

Trace Elements, 2018

8/10

Listen to Frozen Flowers Curse The Day

The frontman and guitarist for alt-rock legends Band Of Susans for their entire duration from 1986-1996, Robert Poss returns with his avant garde ideas where experimental songs run alongside forceful rockers that are on par with his best work from the ‘80s.

An album that defies classification or comparison, tracks like “The Sixth Sense Betrayed” ride a fine line between post-punk and melodic noise-rock, while the straightforward fragmented rock of “You’ll Curse The Day” will have you digging out your Mission Of Burma albums.

Of the vocal-less tunes, and there are many, the title track is a droner with hypnotic guitar work, while “Partial Clearing” is ambient, textured and highly unusual. “Time Frames Marketing Time” is 9 minutes of haunting, cinematic, spacey adventure, and pairs well with the blurry, tense exploration of “Ribbon Candy Colors”.

After several instrumental tunes, “I’ve Got A Secret List” brings back vocals in a monumental fashion with its repetitive and gritty template, and then later on Poss unexpectedly jumps right into classic rock with the Stones’ influenced ‘Sketch 72”.

Certainly not a rock album in the traditional sense, the entire experience is anchored by the unparalleled guitar work from Poss, and whether the songs jangle, thunder, wander or sonically challenge, it’s an adventure we should all be happy to be a part of.

Travels well with: Bob Mould- Workbook; Wire- A Bell Is A Cup… Until It Is Struck

A New Dance

Fresh Sound, 2015

7/10

Listen to A New Dance

The Israeli born guitarist Rotem Sivan had gained quite a bit of momentum prior to this 3rd album, and here he aligns himself with bassist Haggai Cohen Milo and drummer Colin Stranahan for a very creative and unique spin on jazz.

“A New Dance” lets us know right away what we’re getting into with its swift percussion against jazz fusion sounds, though “Suns & Stars” is a quieter affair while “Angel Eyes” recruits blues ideas for a ballad-esque moment. Another ballad at the end, “I Fall In Love Too Easily”, stays calm all the way through with soulful ideas, and the lone track with singing, “Almond Tree”, has Daniel Wright contributing soft, soothing vocals on a moving folk song.

Although it’s absolutely a jazz record, you’ll also hear moments of folk, classical and many world music ideas, including Mediterranean sounds. For those who prefer jazz music in atypical forms, this album is essential.

Travels well with: The Nels Cline 4- Currents, Constellations; Kurt Rosenwinkel- Star Of Jupiter

Get Out Of The City

Palo Santo, 2018

8/10

Listen to Get Out Of The City

The Los Angeles songwriter and multi-instrumentalist returns with his 4th album of self-recorded and self-produced songs where he takes help from Salim Nourallah and Amaris- that latter especially on vocals.

The album leads on the fuzzy and mesmerizing guitars of “All I Hear Is Go”, which sets the tone for the rest of the listen as the cozy acoustic guitar and folk based “We Are The Evening Tide” follows. There exists an undeniable cinematic quality to Strittmatter’s work, and songs like “Blind To Blue”, with its layered strings and hypnotic keys that build into a catharsis, and elegant instrumental tunes like “Zuma” and “Matches” that turn minimalism into a refined art form, help give the affair an ambient and lush template.

Deeper tracks like “Dark Moon Daunting” are certainly dark and rely heavily on percussion to punctuate the mood, while the warm, desert rock of “Trinity” flows with the utmost grace. “My Sugar Regret” the longest tune present and one of the best, utilizes harmonica and keys to paint a landscape that rings with the best Nick Drake songs.

This is a long listen at 14 tracks and around an hour, but every second is worth the experience as Strittmatter weaves in and out of warm textures and pushes and pulls with vulnerable, gorgeous tension.

Travels well with: John K. Samson- Provincial; Fleet Foxes- Helplessness Blues

Sway

Self-Released, 2018

8/10

Listen to Sway

It’s been a prolific time for Austin’s Sarah Sharp, with Sway being the third of four EPs released recently. While the previous two explored roots rock and dream-pop, this one displays Sharp’s jazz skills that points at her time playing in The Jitterbug Vipers.

“Oh, What A Beautiful Mornings” starts with warm strumming and Sharp’s soft and charming vocals in a soulful, jazz opening, before Cole Porter’s “Everytime We Say Goodbye”, where the mood turns sultry and romantic. “Always On My Mind” finds itself being perhaps one of the most sparse interpretations of the classic, but Sharp’s version is no less impactful with a glowing atmosphere.

The second half of the EP brings the fuller “Little Green Bag”, that gets playful and danceable, while the original “Your Girlfriend Hates Me” is a quirky, pop influenced tune. Sway ends on another original, the emotive “Let’s Make Up” which illustrates her impressive vocal range with some blues spirited guitar work.

Though the EP is mostly covers, Sharp makes them her own with her inimitable pipes, and her own songs prove that she’s got the songwriting chops to match her voice. An impressive listen here, and one that makes us anticipate the forthcoming EP #4.

Travels well with: Norah Jones- Come Away With Me; Diane Krall- From This Moment On

Kreole Rock And Soul

Red Hot Louisiana, 2018

8/10

Listen to Kreole Rock And Soul

A fourth generation musician and accordion enthusiast, Sean Ardoin is paving his own path with what he calls ‘Kreole Rock And Soul’, where pop and classic rock are tossed into a formula alongside rootsy traditions that are always at the surface.

“Kick Rocks” gets things off to a lively start with bluesy guitars, accordion licks and a party atmosphere. “In It For A Minute” keeps the party going with a swift pace, and Steve Miller’s “Abracadabra” keeps the magic alive on the funky, retro fueled cover.

The middle tracks bring the R&B influenced and cautious “Butterfly”, and “Do My Thing” goes the opposite direction with hip-hop ideas. “Keep On Moving” is about as close as he’ll get to funk with plenty of horns, and late tracks like the Caribbean and reggae influenced “Just What I Needed” (The Cars) and piano balladry of “You Complete Me” are pleasant surprises.

With a knack for irresistible rhythm and drawing from both Cajun and Zydeco ideas into a unique formula, Sean Ardoin has produced an energetic and inimitable album that is full of wonderful diversity where a washboard and accordion help give the listen its own thriving identity.

Travels well with: Chris Ardoin & Double Clutchin’- Best Kept Secret; Buckwheat Zydeco- Lay Your Burden Down

Land And Harbor

Bonfire, 2019

8/10

Listen to Land And Harbor

Shawn Lane and Richard Bennett, both Grammy nominated artists, come together to take up guitar and vocal duties on this 5 track EP. Add in Gaven Largent on Resophonic guitar, and we have a bluegrass, folk, Americana hybrid of ultra melodic, timeless sensibilities.

“Shady Grove” starts the soothing listen with sparkling guitar work and calm vocals for a folk and Americana opener that moves into the dynamic “Charlestown”, which births even more complicated guitar playing. Middle tracks like “Nautical Star” are emotional and hint at jam band qualities, while “Harmon’s Den” explores this further with plenty of swift instrumentation and more evident bluegrass influences. “Muscel Shells” closes out the affair with deeper vocals and a more cautious effort that’s heartwarming with immense beauty.

Recorded live in the studio, the quick listen sounds pristine with gorgeous interplay between the icons and flawless singing, as the pair deliver their vision with the unparalleled talent they possess.

Travels well with: Joe Satriani- The Beautiful Guitar; Eric Johnson And Mike Stern- Eclectic

Don’t Love Anybody

Self-Released, 2018

9/10

Listen to Don’t Love Anybody

A young man who grew up a farm boy sans technology, Shlomo Franklin had big dreams at an early age and without the trappings of popular culture his creativity flourished into a large talent very quickly.

Franklin lays his soul on the line here, and the title track starts the quick listen with a fragile acoustic moment, while “Waltz For You” follows with a warm folk and country feeling and warbling vocals that are imperfectly perfect. Although Franklin’s twinkling guitar and boyish pipes are center stage, “About Last Night” brings strings in and “Cruel Intentions” is a more textured affair with some electric guitar. The debut ends on the playful and poetic “January Eyes”, where Franklin’s storytelling unfolds like an old soul.

If you’re keen on songwriters who wear their hearts on their sleeves and who probably own a lot of Bob Dylan albums, this youngster’s heartbreaking and vulnerable songs could certainly be your new anthems.

Travels well with: Rocky Votolato- Suicide Medicine; Elliott Smith- Elliott Smith

II

Pinecastle, 2018

8/10

Listen to II

A supergroup consisting of Tina Adair, Gena Britt, Deanie Richardson, Dale Ann Bradley and Beth Lawrence, while several of these woman are making substantial bluegrass albums solo, as Sister Sadie their collective skills come together for an all star gathering.

While each of the 12 tunes here is a gem, standouts include the banjo acrobatics of “No Smoky Mountains”, where Bradley takes lead vocals, while the vocal harmonies of “Losing You Blues” complement Adair’s soaring pipes. Another Adair tune, “Jay Hugh”, brings us back to the early days of bluegrass and Richardson puts her talent on display with “When I Lay My Burden Down”.

For those with an affinity to the calmer side of the equation, “I’m Not A Candle In The Wind” is emotive and moving balladry, while “Love Has No Pride” aches in all the right ways, and truly exemplifies the beauty present here.

While there is a lot of fantastic bluegrass music being made today, and much of it on the Pinecastle label, Sister Sadie resides on an entirely different level of greatness, and II is the perfect display of the gorgeous diversity and talent of these icons.

Travels well with: Deanie Richardson- Love Hard Work Hard Play Hard; Dale Ann Bradley- Pocket Full Of Keys

Already Gone/Dead On The Table

Dubseven, 2018

8/10

Listen to Already Gone/Dead On The Table

Seattle’s SixTwoSeven carry on the grand tradition of their hometown with giant sized grunge rock, but they’re also varied enough to bring punk rock, alt-rock, arena rock and even garage rock ideas to the party.

The band come out swinging with the roaring rocker “Heaven Knows”, which shows restraint and fury with blistering garage rock. Subsequent tracks like the tense and crunchy “My Game” and modern day alt-rock of “Already Gone'“ continue the fun, though they do scale the intensity back on the vocal harmonies and calmer fuzz of “New Solution”, which ends up being a rap hybrid with piano.

The second half of the album has SixTwoSeven spreading their wings with the elegant, instrumental ballad “I Won’t”, the multifaceted and unclassifiable groove filled post-punk of “Runnin’ With The Big Kids”, while the fiery rhythm section really makes “Tiny Legs” a stand out track.

The legendary Jack Endino, who has been behind countless albums on the Sub Pop label, mastered this one, and his balancing skills illuminate the interplay between the instruments perfectly while still leaving a raw element to the equation. Whether you’ve been milling around the scene for decades now or are just discovering alternative forms of rock, you’ll find something to love here.

Travels well with: Dinosaur Jr.- Green Mind; Pegboy- Strong Reaction

Pheromones

Body To Body, 2018

7/10

Listen to Pheromones

Smoota has a pretty impressive resume, most recently playing with TV On The Radio, though he’s also worked with Aaron Neville, Run The Jewels, and even Steven Tyler. On Pheromones, he plays most of the music himself, while adding in backing vocals and strings from friends.

This sophomore album surrounds themes of sex in all its capacities, as the opener “40 Days 40 Nights” addresses self-love from an old school soul angle. As the tracks progress, Smoota becomes more specific on sex acts, and the dance friendly, boogie rock “It’s Natural” gets more explicit, and the slow burning and hazy “Still Feeling You” even describes positions. “That Body Of Yours”, one of the album highlights, is a laid back, atmospheric and lush tune, where Smoota is focused on his partners, what else, body.

Though he musically lingers around retro sounds, mostly in the ‘70s, disc standouts like “Ballbuster” bring in funk and plenty of groove filled melodica on a song about the benefits of S&M, and the title track uses trombones and spacey synth with an arsenal of female backing vocals to tell a story about women releasing chemical substances that reel Smoota in.

Part smut novel soundtrack and part insight into human nature, Smoota has made a sultry, sensual, throwback album that’s authentic and manages to tip toe across the lines of sex and love and will be sure to satisfy fans of soul, funk, disco and R&B.

Travels well with: Barry White-Can’t Get Enough; Serge Gainsbourg- Love On The Beat

So New York

Self-Released, 2018

7/10

Listen to So New York

Consisting of 10 loves songs to the city he loves most, singer-songwriter Steven Blane incorporates plenty of nostalgic sounds into this mature, eclectic and warm listen.

Even though the album leads with the calm jazz of “Bum’s Rush”, where keys punctuate the mood, it’s not long before blues ideas are prevalent on the seductive “Smoke And Mirrors”. With careful attention to rhythm all the way through, tunes like “New York Is My Girlfriend” builds into a lush offering, while the perky, jazzy “Central Park” is a standout among an impressive line up.

Lyrically, each track is clearly about NYC, as “So New York” births a playful light jazz offering with skittering keys and brushed percussion, while “Sidewalks Of New York” uses an acoustic guitar to guide us through a folk song. “Too Beautiful For Words” is a romantic strummer that truly illuminates Blane’s devotion to his city.

Blane’s 6th album continues with his strong, timeless songcraft that focuses on his soaring pipes and skilled guitar playing. If you’ve ever been to NYC you’ll certainly understand the premise of the effort, and if not, it’s likely that Blane’s prose will make you want to visit.

Travels well with: Jamie Cullum- Momentum; Steve Tyrell- Standard Time

Second Bloom: The Hits Re-Imagined

Red Pony, 2018

8/10

Listen to Second Bloom: The Hits Re-Imagined

The legendary country songstress returns with a collection of tunes from across her entire career that she re-recorded so that they’re aligned with the artist she is today.

Much like her lengthy, illustrious career, there’s much diversity present, from the calm, breezy melodies of “Nobody”, to the vocal acrobatics and aching balladry of “Tumbleweed”, and with the frisky “Snapshot” she brings backing vocals for a fun adventure. Not only does she cover all the bases of country music here, but she’s onboard with plenty of pop ideas such as the warm “I Love You By Heart” and the sophisticated soft-rock of “Nothing Ever Happened”, which seems ideal for any easy listening station.

There’s a reason why Sylvia has sold 4 million album, been Grammy nominated and named the ACM Female Vocalist Of The Year; she’s fantastic at what she does, has been doing it longer than most and, as evidenced here, is only getting better with age.

Travels well with: Trisha Yearwood- Jasper County; Shania Twain- The Woman In Me

All Shook Up

Self-Released, 2018

8/10

Listen to All Shook Up

North Carolina has a long history of top notch bands in the area of indie, punk, and alt-rock, and Raleigh’s Thirsty Curses are continuing on that tradition with both wild and cautious tunes on this sophomore album.

Divided into 3 different sections, the first 4 tunes glide by with plenty of melody, sing-along choruses and pop appeal with the jumpy keys of “Dimlit Cathedral” and the acoustic roots-rock of “Slice Paradise” being the highlights. The middle of the album is where the band release their punk influences, as evidenced on the visceral and crunchy “Today’s Kids (Are Not Rockers)” which is a clever take on current youth and the dense “Maudlin Feature Film” that moves with a muscular template and quivers with crashing percussion amid fist-pumping punk rock.

Surprisingly, the final tunes venture into prog-rock, and utilize tense atmospheres that are part folk, part garage rock, part Americana and entirely exploratory, essentially being a medley of progressive ideas.

While there’s certainly something to enjoy for nearly everyone here, if you have broad tastes like myself, you’ll be sure to appreciate everything included.

Travels well with: Against Me!- As The Eternal Cowboy; The Hold Steady- Separation Sunday

Dead Circles

Grandpop, 2016

8/10

Listen to Dead Circles

A Finnish duo who are in the grand company of members of Wilco, The Jayhawks, and Calexico, Tuomo Prattala and Markus Nordenstreng harmonize well with each other across their self-described ‘Nordic Americana’ sounds.

Much like what one might expect considering the talent on hand, the album starts out acoustic and soft with “Over The Rooftops”, where multiple voices and instrumenst meet for a lush adventure, and that spirit carries over into the dreamy “Leaving Your Body”, the folk-pop of “Burn Your Caste”, and the upbeat Americana of “Dead Circles”.

The album stays consistently gentle and warm throughout, with subtle horns on “Beautiful Boy”, the groovy, ‘70s sounds of “Why”, and the piano and handclapping soulfulness of “What Are You Looking For”, which all make for varied tunes of their cautious formula.

A debut album that took 4 years to complete, the hard work is apparent in the rich textures and calculated musicianship that makes this a stand out listen in the folky, Americana, alt-country territories.

Travels well with: Wilco- A.M.; Bob Dylan- Freewheelin’

Old Country Store

Bonfire, 2018

7/10

Listen to Old Country Store

Bluegrass sounds had a great year in 2018, and Kentucky’s Turning Ground were certainly part of the reason why. Taking inspiration from their Appalachian Mountain surroundings and gospel ideas, the quintet utilize traditional and modern tactics across these 13 crisp and animated tunes.

The band put all their skills on display right away with the fluid vocal harmonies and gorgeous banjo and mandolin interplay on “Barbed Wire And Roses”, and that theme continues on the soulful and calmer “I’ve Had A Good Life”. Though it’s certainly a vocally driven listen, songs like “The Lonesome River” contain an aching backdrop that’s mesmerizing while “I’m Gonna Wear A Crown” yields soft and warm guitar strumming with a subtle Americana slant.

The quicker paced efforts like “Bluegrass” and “Let The Big Wheels Roll” stand against the best of the best in the area of bluegrass, and the cautious balladry of '“Will Heal Over Time” closes out the album with timeless beauty.

Throw in the appealing artwork and multi-panel packaging and you have a must own disc for all bluegrass admirers.

Travels well with: The Farm Hands- Good Things; Clay Hess Band- Just Another Story

Which Way Is Home?

FPE, 2018

7/10

Listen to Which Way Is Home?

The duo of Indian percussionist Ravish Momin and Haitian electronic artist Val Jeanty, the pair bring old and new ideas to the table here, finding a middle ground between organic and synthetic sounds amid a very intricate delivery.

The title track, “Which Way Is Home?”, starts out the short listen, and it’s a beat heavy, glitchy tune that’s thick on atmosphere and puts an iconoclastic spin on electro-pop. The Silkback remix of this song follows, and finds itself moving in more aberrant directions that are more ominous yet still club friendly.

The back half of the EP offers the futuristic and sometimes chaotic “Lights Below Water”, and “Vishwas” extends that notion further into nearly robotic sounds. The Zilla remix of “Which Way Is Home” finishes the effort with an ultra creative mashing of distant vocals, electronic percussion and thriving beats.

A very unique, eclectic and calculated collaboration, there isn’t much out there that compares to Turning Jewels Into Water, and that alone warrants a peek for the adventurous ears.

Travels well with: Val Jeanty- On; Qwanqwa- Volume II

I’m Not Worried Anymore

Self-Released, 2018

7/10

Listen to I’m Not Worried Anymore

Indie-pop from Indianapolis, this first album from The Wldlfe makes good use of ideas from modern-rock, electro-pop and vibrant pop-rock.

Certainly a very dance friendly listen, tunes like the bright synth of “Dream Pt. II” and contagious melodies of “Lacy, Take A Break” will keep your body in motion, while songs like “Addicted” reveal their deep pop template. Armed with some varied textures, the hazy atmosphere of “Real Ones” touches on alt-pop sensibilities while the soulfulness of “Headache” illustrate another avenue to their formula, and the best track, “June”, is a more cautious effort that shimmers and flows with a romantic quality.

These youngsters have a lot going for them, and this slickly produced album is sure to bring a lot of attention their way. In fact, it wouldn’t surprise me at all if The Wldlfe were a household name a year from now.

Travels well with: The 1975- The 1975; Chvrches- Love Is Dead