Take Effect

I Walked In Them Shoes

Gypsy Shuffler, 2019

9/10

Listen to I Walked In Them Shoes

The Texas troubadour returns with his 9th album in over two decades of songwriting, and this time he strips down the affair to just himself and producer Lloyd Maines, as the pair get intimate and cozy on a listen that was recorded entirely in one day.

“I Walked In Them Shoes” starts out with Carroll’s meticulous guitar picking while his strong, rich vocals illuminate the folk tune, and “Caroline” follows with a darker approach where aching pedal steel gives the track a rustic feel. Even though the instruments in attendance are pretty sparse, the duo offer plenty of variety, especially on the playful Americana of “Storms”, while “Crescent City Angels” recruits strategic harmonicas while radiating skilled song craft.

Back half highlights include the mix of humorous singing and talking of “This Old Garage”, the dreamy, harmonium of “Cordella”- a love song for Carroll’s wife- and the timeless folk ideas of “The Last Word”. The album exits on “Night At The Show”, where a subtle grit points towards similar artists like Tim Barry or Cory Branan in a wise, even inspiring fashion.

It’s really unfortunate that most people reading this will have never heard of Adam Carroll before, because his timeless delivery and proficient guitar work certainly deserve to be spoken in the same sentence as Townes Van Zandt and Steve Earle, and I Walked In Them Shoes only reinforces that sentiment.

Travels well with: Jon Dee Graham- Do Not Forget; Guy Clark- My Favorite Picture Of You

Me You They We

Partisan, 2019

9/10

Listen to Me You They We

Portland’s Ages And Ages made me a fan pretty quick with 2016’s Something To Ruin, and this follow up exapnds on their eclectic indie-rock prowess with a new addition to the band, Lizzy Rose Allen.

“Way Back In” gets the album off to a friendly start with playful indie-folk, before the bright keys and pop influences of “Needle and Thread”, which brings a soulful aspect, too.. A listen where no two songs sound all that much alike, “Just My Luck” offers us a late period Elliott Smith-ish piano led gem with cozy harmonies and a shard of xylophone, and “Unsung Songs” recruits an ‘80s atmosphere with breathy singing that builds into a scrappy indie-rocker with post-punk nods

The back half is just as superb with the summery, charming indie-pop of “Nothing Serious”, the elegant chamber rock sounds of “All The Sounds Of Summer”, and the groove filled ideas of the retro frisky “Day From Night”, The record ends on “Forever Cul-De-Sac”, an ambient and beat driven affair that brings a wealth of ideas into a choral rock meshing.

An outfit that just keeps getting better, Me You They We is a personal venture, full of insightful thoughts on today’s political climate and modern vices, and the twice weekly songwriting sessions from Tim Perry and Rob Oberdorfer paid off in spades on this dynamic, harmonic and ingenious record.

Travels well with: Streets Of Laredo- Wild; River Whyless- Kindness, A Rebel

The Question

Fluff & Gravy, 2019

9/10

Listen to The Question

A Portland multi-instrumentalist and accomplished singer-songwriter, though Anna Tivel was once part of Anna And The Underbelly, for the last half decade she’s been on her own, birthing intimate folk and warm Americana sounds that hit a career high with the ethereal and cautious The Question.

The title track gets off to a mysterious and elegant start, where Tivel’s expressive vocals are met with soft and agile instrumentation, and “Fenceline” follows with a darker backdrop where keys and a cinematic quality mesmerize. Tivel is quite the navigator of textured ideas, and tunes like the haunting indie-folk of “Shadowland” are met with more fierce percussion, while “Minneapolis” presents an orchestral and theatrical setting that shines with boundless beauty.

At 10 tracks, there isn’t a moment here that isn’t superb. Later cuts include the fuller pop-friendly sounds of “Worthless” that one could dance to, and one of the album’s bet, “Homeless Child”, is a first rate acoustic strummer that follows in the grand tradition of Tivel’s Portland home alongside Elliott Smith and The Decemberists. Near the end, “Velvet Curtain” offers us gorgeous piano balladry, and the album exits on “Two Strangers”, where folk-pop ideas enter a closer of sublime grace and playfulness.

A stunning release that was recorded mostly live, Tivel has plenty of help here from various Portland indie-rock veterans as she moves into different avenues of her art with synth sounds and atypical rhythm. An incredible effort, the only question one could seemingly gather here would be why isn’t Anna Tivel a household name?

Travels well with: Lilly Hiatt- Royal Blue; Damien Jurado- In The Shape Of A Storm

Rock Paper Scissors

Self-Released, 2019

8/10

Listen to Rock Paper Scissors

An Italian singer-songwriter who currently resides in Hamburg, Anthony Lazaro keeps our attention just fine across the 18 tunes on Rock Paper Scissors as he skips genres and takes on countless ideas into his well thought out formula.

“Coffee Cup” gets things off to a playful start with a ukulele and soft horns, though it isn’t long until the soulful, R&B influenced “A Thousand Little Fires” puts us into a romantic mood. Elsewhere, “Neon Soul” lives up to its name with a bright dance feeling that touches on the ‘70s, and “Moonchild” does recruit some spacey ambience into a sleek, hypnotic track that’s certainly club friendly.

Just when we think we have Lazaro figured out, he changes direction into the warm indie-rock sounds of “Dry Away”, while “Through Me Eyes” finds the troubadour exploring the more cautious side of indie-rock. “Honey In My Mind”, the closer for the formal album, gets even more unclassifiable into a breathy, hazy, chilling display of sprawling beauty.

Included are 5 bonus tracks, a couple of which are demo versions, and include the acoustic guitar beauty of “Love In Reverse”, where Lazaro’s smoldering voice really shines amid some orchestral nods, and “Reaping What I Sow” is armed with introspective electro-pop weaved into his thoughtful singer-songwriter template.

Often sounding like a mixtape, Lazaro offers something for everyone here, and, if you’re someone who can appreciate all types of music, the entire ensemble is absolutely a worthwhile listen full of honest, articulate and precise songcraft.

Travels well with: Coldplay- A Head Full Of Dreams; Ben Howard- Noonday Dream

Ancestral Spirits

T’N’T, 2019

8/10

Listen to Ancestral Spirits

Art Turk Burton aligns himself with saxophonists Ari Brown and Edwin Daugherty, as well as 6 players handling the energetic rhythm section while Maggie Brown takes up vocal duties on these 6 standards and 2 Burton originals.

“Soul Drumming” starts the listen with spoken word and dynamic percussion, before Brown’s highly expressive vocals guide the soulful “Night In Tunisia”. “Killer Joe” recruits Latin ideas with beautiful interplay between the saxophones and keys, providing a busy and enticing landscape.

Further on, free jazz enters the equation with the exploratory “Summertime”, where solos comprise much of the tune, and The album ends on the funk and propulsive drumming of “Listen Here”, which recruits instrumentation so precise, it’s unlikely anyone could replicate it.

An ultra-creative excursion into the unparalleled skills of Burton, he leads his band through Afro-centric jazz that gets busy without being stifling and highly unique without being esoteric on this fine companion to his 2015 release Spirits: Then And Now.

Travels well with: Willie Bobo- Tomorrow Is Here; Ray Barretto- Hard Hands

Riptide

Self-Released, 2019

8/10

Listen to Riptide

A band who have never done anything traditional, Atlas Maior’s 5th album, Riptide, sounds like it could have been birthed in several continents across many decades.

“The Curse” gets the album off to a saxophone fueled start with double bass, vivid percussion and a very Balkan influenced angle, before “Riptide”, which brings a more subdued setting with progressive jazz amid worldly and psychedelic ideas.

Elsewhere, “Chamber Of Mirrors” recruits swift grooves with violin punctuating the dynamic mood, while “Oryx” offers a mysterious template to tense percussion and bright sax. Near the end, “Huzzam Hive PT. 2” resides closer to western ideas of rock with an undercurrent of jazz and “Osman Pehlivan” ends with skilled oud picking that builds into a vast tapestry of rich instrumentation that runs the gamut of their sounds with much fun and agility.

Extremely detailed, highly polished, and progressing in very unique ways, once again the Austin outfit find themselves unclassifiable in all the best ways, where gypsy nods, jam band excursions and plenty of Middle Eastern playfulness is brought into the inimitable fold

Travels well with: Beats Antique-Shadowbox; Christian Scott Atunde Adjuah- Ancestral Recall

Hot Kats

Chinese Man, 2019

8/10

Listen to Hot Kats

An extremely adventurous listen that brings in plenty of contributors, this debut album from the duo of Baja Frequencia is as colorful as its cover art, mixing trap, folktronica, dubstep and plenty of other ideas to the creative template.

“De La Locura” starts the album with bright beats under a barrage of electronica, and “Windrush Scandal” follows where Warrior Queen contributes vocals to a club friendly affair. Further along, “Se Come Tambien” recruits rapid fire sounds into a dizzying display of sound manipulation, while “Vitamin P” brings Dai Burger into a hip-hop highlight.

Deeper cuts like “Hasta El Piso”, with Fauuna, turn repetition into a highly refined art form where processed vocals add to the experience, and “Brindo Mi Carino” offers a cultured approach with varied instruments. Near the end, “Smokin’ Loud” produces cinematic qualities with precise instrumentation, and “Dembowgordon” ends the affair with Kid Cala helping the futuristic action movie-like interplay unfold with a buzzing, unpredictable quality.

Goodiju and Azuleski put much work into this thriving record, and it’s evident in the inimitable fusion and global approach that makes Hot Kats instantly appealing and universally enjoyable.

Travels well with: Massilia Hi-Fi- Part One; Tumi & Chinese Man- The Journey

Kaniama: The Yellow Version

Bella Union, 2019

8/10

Listen to Kaniama: The Yellow Version

A true renaissance man, Baloji is well versed in hip-hop and rap sounds, but also dabbles in film making, poetry, producing and even hair styling. A true cross cultural experience, Kaniama: The Yellow Version brings in influences as wide as LCD Soundsystem and salsa music that can be found on Fania Records, as the re-release of 2017’s 137 Avenue Kaniama again illustrates the Belgian’s boundless creativity.

The 1st track, “137 Avenue Kaniama”, is 79 minutes of worldly sounds that could reside in New York City just as they could the Congo, and relies heavily on an Afrobeat, dance, and funk vision. Originally intended to be a one track mixtape, that’s precisely how it unfolds here with meticulous and agile rhythm and an endless barrage of ideas.

Also included are 2 remixes of “Spotlight & Miroir” with Marshall Dixon Poision Mobutu, and “Hiver Indien featuring Gael Faye. The former recruits vocal harmonies, electronic prodding and rhythmic interplay while the latter takes heavy nods to disco in a cultured, unpredictable fashion.

Already a prominent name in his home country as well as France, if there’s any justice Baloji will see worldwide recognition as he takes the high road lyrically here with well thought out political and social subject matter, and his music, though heavily rooted in Rumba and Congolese origins, is still flowing with plenty of energetic and universal pop melody.

Travels well with: Childish Gambino- Camp; Stromae- Cheese

Berlin-Nashville Express

Hoof & Antler, 2019

9/10

Listen to Berlin-Nashville Express

Even though most of us won’t be familiar with Bambi Lee Savage’s name, we’ve all heard her work before on albums by U2 and Nick Cave and the Bad Seeds, where she handled engineering duties, and her song “Darlin’” was even featured on the Sling Blade soundtrack.

Turns out that Savage preferred songwriting to engineering, and this 4th album has the post-punk feminist finding her inner Americana songstress with an incredible band including the legendary Mick Harvey on about half the tracks.

“Honey” starts the listen with a melodic, rustic feeling and a semblance of an oldies spirit, and “This Blue Heart” gets right into country twang with Savage’s gorgeous vocals guiding the way. Deeper tracks like “Demon Alcohol” bring us an upbeat, barnyard romper that’s both elegant and frisky, and “Baby Come Back” shuffles with a more rugged punk edge to her rootsy ways.

The 2nd half offers the breathy, subdued “I Can’t Count On My Man”, the lush, soaring “I’ll Have To Leave Town (To Get Over You)” and the rowdy gospel influence of “Drinker Of Gin”, which sounds like it could soundtrack a fisticuffs at a hole in the wall bar. Savage ends the album with the soft and agile “Darlin’ (Savannah Remix)”, which recruits minimal instrumentation for a romantic and ethereal exit.

An album penned in both Berlin and Nashville and recorded in studios on 3 different continents, though at its core Berlin-Nashville Express might be a country album, Savage is fluent in many styles, and they all coalesce here on a stunning and authentic display of unparalleled talent.

Travels well with: Sarah Shook & The Disamers- Years; Lydia Loveless- Real

Bat Music For Bat People

Cleopatra, 2019

9/10

Listen to Bat Music For Bat People

An all star outfit comprised of members of Nekromantix, The Brains, Rezurez and Stellar Corpses, as Bat! the ensemble recruit some deep punk lineage into a very atypical and immediately enthralling listen that fans of The Cramps and The Misfits should flock to.

“We Fight!” gets the album flying high with a thundering and Danzig-like appeal, and “Tainted Love” gets a fresh coat of paint in a more ominous setting. With all the tracks residing in the 2-4 minute range, we get quick blasts of fury and melody, as songs like “We Own The Night” are full of sing-a-long choruses, while “Running Scared” recruits a dark psychobilly approach.

Later in the listen, “Love Song” is certainly a romantic tune though with plenty of punk rock spirit, and “Graveyard Girl” is some form of pop-punk meets goth rock that’s impossible to forget. Of the 5 covers present, “Mother” is a particularly great reworking of the classic, and “Say Amen (Saturday Night)” is not unlike Alkaline Trio on steroids with a punchy, anthemic rumbling that makes a mediocre pop tune a worthy listen with the Bat! formula.

An irresistible record where the melodies never stop and the charged riffs arrive in spades, think of Bat! as the more visceral, abrasive version of Masked Intruder, and consider this a firm nudge to give this bat rock disc a spin.

Travels well with: The Damned- Machine Gun Etiquette; Horrorpops- Bring It On!

Indivisible

Self-Released, 2019

8/10

Listen to Indivisible

A pianist-organist virtuoso, Bennett Paster has a lengthy history as an arranger, producer and composer, and here he guides several esteemed musicians through catchy, groove heavy tunes that are quite eclectic and never short on rhythm.

“Blues For Youse” starts and is an aptly titled tune of playful keys, crisp percussion and general light blues and jazz tendencies, and “(Givin’ The People) What We Want” follows with fun grooves, saxophone solos and smooth interplay between the musicians.

Further along, “Belgrade Booty Call” really highlights Paster’s skills with keys, as the band yield a frisky rhythm indebted to New Orleans funk, while the pretty ballad “Gratitude” unfolds with timeless elegance and shimmering grace.

Near the end, “The Murfreesboro Waltz” recruits a moody atmosphere with sax contributions from Kenny Brooks, and one of the busiest tunes, “Salamander”, adopts some free jazz ideas amid a feisty blues template. The album exits on “Buxom Biali”, a festive closer that’s highly danceable with guitar acrobatics from Al Street.

An artist who has been performing since the age of 14, Paster takes his vast experience and parlays it into a universally enjoyable and intriguing affair of solo filled and carefully constructed fusion of blues, country, funk, surf, and others on this charmingly entertaining album.

Travels well with: Ramsey Lewis- Solar Wind; Keb’ Mo’- The Door

Contract

Self-Released, 2019

8/10

Listen to Contract

A New Orleans outfit spearheaded by Mikey Arruebarrena, who has already played music in the area of garage rock, alt-rock and psyche-rock, as Berlin Taxi and along with Morgan McManus and Greg Manson, the trio are knee deep in darkwave, synth-fueled sounds.

“Everybody Changes” starts with a dense atmosphere of throbbing synth and the sort of moody backdrop that was so endemic to ‘80s post-punk with dark vocals sweeping in, and “Middle Man” follows with a pace and beat that could soundtrack a late night club adventure, where multiple vocals help make this one more pop friendly.

The back half of the EP offers the dreamy, hand clapping fun of “Backroads”, the bright and feisty “Last Night” that oozes with irresistible melodica, and “Level With Me” closes the affair on a nod to ‘80s New Wave with a mysterious and memorable quality that runs parallel to legends like New Order or Human League.

An extremely well done first effort, whether you’re partial to electro-pop, post-punk, synthwave or even shoegaze, Contract deserves a spot in your collection and warrants repeated listens.

Travels well with: Joy Division- Closer; Depeche Mode- Violator

Cobain and Cornbread

Reptar, 2019

9/10

Listen to Cobain & Cornbread

A Seattle duo of twins Eva Walker and Cedric David, with Cobain in the album title you might assume The Black Tones are fully versed in grunge rock, which they are, but there’s just as much blues and punk roaring to be found on this powerful album, too.

'“Ghetto Spaceship” starts off with bombastic drumming before a thick atmosphere of prodding guitars and strong female vocals invade the tune, and “The Key Of Black (They Want Us Dead)” follows with a groove and retro feel where minimal vocals doesn’t take any effect away from the bluesy ideas of the Black Power anthem. “Mama! There’s A Spider In My Room” lets Eva’s soaring pipes shine on a cautious rocker, and “Chubby & Tubby” utilizes warm guitar licks and swift percussion for a nearly instrumental garage rocker where Mason Lowe lends his talents.

The last 4 tunes continue their dynamic formula, with the strategic harmonica of “Rivers of Jordan” that recruits hand clapping to complement the sparse environment, and the fuzzed out, voodoo sounds of “Plaid Pants”, where their southern heritage is illuminated. The garage rock inspired “Welcome Mr. Pink” ends the listen with brief bouts of reverb fury that are met with interludes of singing which reinforces everything The Black Tones stand for- rawness, conviction and brawny melody.

Even if you don’t own any flannel and have never heard of Sub Pop Records, this sibling brand of Southern Rock meets Pacific Northwest sounds of past and present doesn’t confine itself to any single genre and is universally embraceable. The legendary Jack Endino turned the knobs on this one, who was also behind seminal records by Soundgarden, Mudhoney and The Melvins, and Cobain and Cornbread certainly holds its own against any and all classic Seattle rock albums with its throbbing creativity and passionate delivery.

Travels well with: Hobosexual- Monolith; A Very Special Episode- Cut For Time

Pale Mirror

Self-Released, 2019

9/10

Listen to Pale Mirror

The recording moniker of Michael Shunk, who has done great things as the guitarist for Transient Songs, as Blue Glass the Seattle resident takes significant nods to the ‘80s, specifically the post-punk and New Wave sounds that permeated the underground scene during this pivotal period.

Opening tune “Don’t Think Twice” (not a Dylan cover), brings in an ominous tone with dark beauty as Shunk’s baritone voice complements the affair, and “Sleep” follows with a jagged approach that’s chocked full of ambient synth and a slithering rhythm section.

Though the album is certainly on the moody side of the equation, pop moments do invade the rhythmic “We Loved The Rain”, while “Hometown Highs” possesses a bouncy, even danceable quality to the punky setting.

Back half highlights include the vocally expressive and intricate “All Night”, and the buzzing alt-rock of “Incantations”, which, if this were 1991, could be sandwiched between videos by The Cure and Cocteau Twins on 120 Minutes. The album ends on the fuzzed out and lovely tension of the ebullient and jangly “You Won’t Stay”, which is a fine exit to a very engaging and accomplished effort.

A listen with much attention to atmosphere, even though Shunk is clearly an anglophile, his art resonates with its own identity, and Pale Mirror is a must hear record for anyone with an ear towards names like Morrissey, Marr, Curtis, Sumner and Smith.

Travels well with: New Order- Low Life; The Smiths- Hatful Of Hollow

Do The Hip-Shake Baby!

Southwest, 2019

8/10

Listen to Do The Hip-Shake Baby!

The harmonica virtuoso and blues legend Bob Corritore returns with 13 tracks recorded from 2016-2018 with a handful of guests including John Primer, Henry Gray, The Fremonts, Bob Welsh, Alabama Mike, and many more to complement the authentic and sophisticated Do The Hip-Shake Baby!

“Shake Your Hips”, with Mighty Joe Milsap, gets off to a bluesy start with plenty of soulfulness in a vibrant setting that indeed will get your body moving, and “Gonna Tell Your Mother” follows with Corritore’s harmonica skills on full display in the nostalgic sounding rocker.

A record where no 2 tracks run the same course, “Bitter Seed”, with Oscar Wilson, brings jumpy keys to the blues fueled affair where harmonica solos punctuate the mood, while “Worried Blues” brings strong, emotive vocals to a spirited moment.

Back end highlights include the subdued and rich “Stand By Me”, and one of the busiest tunes, “I’m Gonna Keep What I’ve Got”, which brings louder percussion, fluid rhythm and a whole lot of rich guitar work on one of the best tracks present. The album ends with “Keep The Lord On With You”, where Sugarray Rayford and Kid Ramos contribute to a raw, ebullient rocker that’s full of gospel influences and swampy blues feelings.

Now 14 albums deep, Corritore shows no signs of slowing down. In fact, this might just be his best album to date, which is saying a lot about an artist who has already won a handful of Blues Music Awards in an esteemed 40 year career.

Travels well with: Kid Ramos- Kid Ramos; Tail Dragger- Live At Rooster’s Lounge

Perfect Patterns

10K, 2019

8/10

Listen to Perfect Patterns

Now a Los Angeles outfit, the former DC pop enthusiasts Brett are now fully immersed in West Coast life, and this quick EP has the trio showing us another creative side of their eclectic and evolving song craft.

“Tenenbaum” starts the album with bright pop influences and smooth indie-rock, where breathy and expressive vocals steer the addictive ship, and “Perfect Patterns” follows with glowing synth amid an ‘80s setting that’s full of acoustic strumming and vivid melodica.

Later on, “Bad Luck” recruits a punchy pop influence with plenty modern and classic rock ideas, too, while “Wisdom Tooth” is fully drenched in dreamy New Wave sensibilities. Near the end, “Hard Feelings” finds the EP closer to electro-pop, and together with the closer and cassette only bonus track “Nonchalant” Brett let’s us know that summer is here and it’s time to play music loud with windows rolled down.

Brett have been busy in recent years with several releases that included music varied enough to bring to mind New Order and Tom Petty, and this installment might be their most adventurous yet and just begs to be played on repeat.

Travels well with: Pavement- Slanted and Enchanted; Dinosaur Jr.- Beyond

Sparks Like Little Stars

Over Pop, 2019

8/10

Listen to Sparks Like Little Stars

The debut from the New Jersey sextet brings in a heavy amount of talent as members of The Campfire Flies have already made waves in outfits like The Cucumbers, Speed The Plough and The Thousand Pities. Recruiting many instruments into their layered tunes, as well as 4 members also handling vocal duties, this first LP is a fine example of impactful timeless harmonies and carefully constructed instrumentation can be.

The album leads with the flute and mandolin friendly, dual gender vocals and upbeat Americana spirt of “If Your Eyes Are Closed”, though it’s not long before keys and recorders make “Blue Fall Day” a soothing, cautious track where minor banjo moments add greatly to the mood. “John’s Song” one of the album’s best, brings baritone singing to the breezy roots song, while “I’m Not Changing My Mind” offers lushness with accordions and plenty of group vocals.

The second half of the listen retains the collaborative spirit and brings accordions and clarinets on “Go Back To Your Heart”, and “Waiting To Shine” recruits a bit more ruggedness to their folky equation. “Deep Water”, the back half standout, is where the vocal harmonies really shine while keys punctuate the setting, and “Your Lips Were Made For Me’ exits on an upbeat, playful, and charming romantic closer.

A truly organic and mature record where the communal spirt between the 6 is very evident, although the players here are still active in their other musical endeavors, let’s hope that The Campfire Flies are just getting started, cause their textured beauty and knack for endearing tunefulness is a very well received on this end.

Travels well with: The Cucumbers- Where We Sleep Tonight; Speed The Plough- Swerve

Delicado

Zoho, 2019

8/10

Listen to Delicado

A tribute album to the city of Rio, Carlos Barbosa-Lima is in grand company here as all the players on hand have contributed to esteemed cultural albums and even some Grammy nominated work, too.

At 15 tracks there’s much to absorb here, but the strong musicianship keeps the listener enthralled from the opening moments of the dual guitars and bright percussion of “Tico Tico” to the worldly harmonies of the closer “Tristeza”.

While there isn’t a dull moment to be found as all tracks contain fluid, creative interplay between the participants, album highlights include the swift samba rhythm of “Samba de Orfeu”, the ultra soulful “Manha de Carnaval”, and the jongo rhythm and highly playful ideas of “Interrogando”.

Although all these songs are reworkings of tunes by Brazilian composers, Barbosa-Lima’s vision recreates them often in a modern light while still retaining the original spirit of the artist with incredible and varied guitar work as some of today’s best Brazilian jazz musicians help illuminate the affair.

Travels well with: Luiz Bonfa- Black Orpheus; Antonio Carlos Jobim- Wave

Vive Todo Ahora

Self-Released, 2019

8/10

Listen to Vive Todo Ahora

If your interests run anywhere near salsa music, this debut from the Bay Area singer-songwriter Carlos Xavier is a must hear album that’s adventurous enough to bring hip-hop, rock, R&B and Latin rhythm to a wild salsa experience.

The title tracks gets the party started with bright horns and kinetic rhythms as Xavier’s expressive and smooth vocals steer the ship, and “Todo Cambia” follows with bluesy guitars in a more subdued setting that’s no less radiant. Elsewhere, “Solo Tengo Ojos Para Ti” brings accordions to a breezy, melodic affair, while “Mientes” highlights keys amid a flurry of horns and crisp percussion with jazz undertones.

Deeper cuts like “Tres Dias” recruit spirited guitars in a ballad like environment that starts intimate and builds into lush beauty, while “Insoportablemente Bella” is dynamic dance tune that’s busy and gushing with elegance. “Si Dices Que Si” ends the album with moody strings and skittering keys, where Xavier’s voice soars as the music weaves in and out of playful textures.

Xavier has spent over two decades singing in night clubs and it shows as his voice if flawless and each note is pristinely executed. A record reportedly inspired by a documentary about a soccer star, 6 years was spent working on this debut and the meticulous detail and intricate interplay between the trumpet, trombone and guitars is alone worth the price of admission.

Travels well with: Frankie Negron- No Me Compares; DLG- Renacer

Worthy Cause

Self-Released, 2019

8/10

Listen to Worthy Cause

A native to the Louisiana/Texas area in the Sabine River valley, Chris Richard (pronounced REE-shard) brings strong influences from that region to his very heartfelt song craft that touches on blues, country, Texas swing, cajun and folk and brings it into a very moving brand of Americana.

“Slow Rolling State Line” gets the album started off right with warm guitars and soaring fiddles, as Richard’s deep vocals guide us through a breezy, genuine Americana journey, and “Love Anyway” follows with a quicker pace that brings in folk ideas to soothing instrumentation. Though there’s about 12 players helping out Richard with their respective talents, “German Angel” is just Richard’s strong, comfortable pipes and acoustic guitar with subtle strings for mood, while the traditional country sounds of “Right Now” move in a way that will get all cowboys and cowgirls out on the dance floor.

The second half of the album retains the fluid songwriting with the soft and agile “Watersrise”, where bare keys complement Richard’s storytelling that recruits backing female vocals, and the percussion heavy “My Name”, which has Richard and company finding a warm groove amid folky, melodic sounds. The album ends similar to how it started, with the graceful and authentic sounds of “The Game” that produces timeless beauty with some grit.

An album that often draws from Richard’s life as a single dad, his blue collar life certainly comes through in the forthright, humble storytelling, and even though he may have become a songwriter later in life, Worthy Cause is his 2nd album of instantly enjoyable tunes culled from a live very well lived.

Travels well with: Walt Wilkins- Plenty; Chris Stapleton- Traveller

Whiskey Salesman

Train Wreck, 2019

8/10

Listen to Whiskey Salesman

An accomplished singer-songwriter for 6 decades now, Chip Taylor might best be known as the guy who penned “Wild Thing” way back in the ‘60s, but he’s no slouch on his solo records either, as the carefully crafted love songs on Whiskey Salesman prove.

“Whiskey Salesman” starts out with soft spoken word against gentle acoustic strumming and light keys, where Taylor occasionally sings, and “Hold Her” keeps the setting calm with gruff singing and soothing instrumentation.

Taylor rarely gets above a whisper on the album, and it suites his wise, sage-like delivery, as songs like “I Love You” are as sweet as the title, while the sparse, nearly meditative “Some Hearts” is an exercise in stripped back beauty.

Near the end, “I Like Ridin”, one of the fuller tunes, brings us to punchy Americana territory, and the key heavy balladry of “In The Stillness” yields a lush and organic highlight. The album exits similarly to how it started, with a mix of talking and singing on “See The Good Side Of That Guy”, where faint horns add greatly to the mature atmosphere.

Armed primarily with a guitar, piano and his ragged yet comforting voice, Taylor’s 40th album is entirely heartfelt, extremely authentic and even comes with some clever humor that’s as timeless as his vast, inimitable talent.

Travels well with: Rodney Crowell- Tarpaper Sky; Steve Earle & The Dukes- Terraplane

Shades Of Shirley Horn

Self-Released, 2019

8/10

Listen to Shades Of Shirley Horn

A jazz vocalist with an affinity for gospel influences, here Coniece Washington pays tribute to the late Shirley Horn with 12 carefully crafted tunes where an all star cast contribute trumpet, flute, keys and poetry to the affair.

“Here’s To Life” starts the album with soft keys and poetry from Seth Washington, before the agile jazz shuffling and feisty attitude of “Get Out Of Town”. Elsewhere, “How Am I To Know” showcases Washington’s passionate, expressive vocals with Latin nods, while “Don’t Let The Sun Catch You Crying” brings horns to the emotive spirit.

Back half highlights includes the breathy “If You Go”, the dreamy and calm “Dindi”, and the highly rhythmic “Once I Loved”. The album ends on “I Just Found Out About Love”, a danceable finisher with a playful atmosphere and timeless elegance.

With a third of the songs having the word ‘love’ in the title, it’s not surprisingly a romantic affair that’s easy to digest, hard to forget and executed with tremendous grace. Washington is clearly very well versed in her craft, and any and all fans of jazz will find much to enjoy here.

Travels well with: Gloria Lynne- A Time For Love; Sarah Vaughan- Send In The Clowns

J Tree

Blind Owl, 2019

8/10

Listen to J Tree

A San Diego outfit composed of members of Counterfeit, Mrs. Henry, Howlin’ Rain, and Silent Comedy, Roger Molina (Noise Ratchet) fronts the band, and together they blur the lines of Americana and folk sounds with a very compelling, organic formula.

“Widow’s Waltz” starts the EP with thundering percussion that leads into a sturdy roots rocker where guitar solos, a hazy atmosphere and plenty of exploratory ideas make it a fine start, and “Head Above Water” follows with a bluesy setting of subtle keys, multiple voices and an almost gospel approach that leaves an indelible mark.

The last 2 tracks are equally impressive, with the stark, sparse, slow burning tension of “Oh. Well”, and the acoustic strummer “Two Golden Coins”, where crisp percussion and vocal harmonies make this the stand out tune as country, folk and Americana collide with rustic beauty.

Molina has a knack for vivid storytelling and the 4 part harmonies, psyche-rock tendencies and dynamic musicianship unravel with a lush, flowing appeal that was recorded to tape in the desert. Almost as if paving a new subgenre of roots rock, Creature And The Woods bring a spontaneous, raw and flourishing experience here that we could all use more of.

Travels well with: The Midnight Pine- Buried; The Whiskey Circle- Into The Valley

Live At The Jazz Cafe

Vintage League, 2019

8/10

Listen to Live At The Jazz Cafe

Recorded live at the legendary Jazz Cafe venue in Crowd Company’s hometown of London, these 10 selections highlight the retro fun meets modern edge of the 8 piece in their ideal setting, where the dynamic interplay and spontaneous grooves cement the ensemble as one of the best in today’s throwback funk and soul.

“Take Off The Crown” starts out the 8 tracks with bright funk, uproarious melodies and powerful female vocals where horns really punctuate the experience, and “Away With You” follows with spirited organs, smooth male vocals and plenty of grooves. “Can’t Get Enough” shifts the mood to more cautious with plenty of soul amid a layered atmosphere, but the party vibe returns with the percussion heavy “Are You Feeling It”.

The back half shines with the mysterious beauty of “Fever” that certainly recruits ‘70s sensibilities, while “Let Me Be” is a vocal highlight with gorgeous female vocals showing plenty of range. The album exits on the 8 minutes of “Long Way From Home”, where gritty moments collide with playful organs, and punchy saxophones.

A strong and fluid listen where the funky guitars, propulsive drumming and multiple expressive vocals all weave in and out of each other with playful precision, if you’re a fan of hooks, harmonies and vintage sounds, you can’t go wrong with Crowd Company’s timeless formula.

Travels well with: Soulive- Up Here; The New Mastersounds- Therapy

In The Shape Of A Storm

Mama Bird, 2019

9/10

Listen to In The Shape Of A Storm

The Seattle born and raised troubadour returns with a sparse offering where josh Gordon contributes high-strung guitar work to 10 highly introspective and percussion-less tales that Damien Jurado has finally put down on tape.

“Lincoln”, a tune he wrote 2 decades ago, starts off sparse with soft, agile acoustic guitar and Jurado’s breathy, expressive vocals, and “Newspaper Gown” follows with a chord progression that brings to mind Elliott Smith as Jurado’s pipes get a bit more forceful.

Jurado never out welcomes his stay here, and offers us brief tunes that forgo any incessant noodling, as songs like the 1 minute dark and dreamy “Oh Weather” leave an indelible mark, while the stark atmosphere, humming and whistling of “South” makes the 3 minute journey one you want to repeat again.

The last few songs continue Jurado’s timeless formula, thankfully, with the more upbeat guitar work and rugged, punchy, Americana of “Where You Want Me To Be”, and the gorgeous “Silver Ball” where Jurado’s singing nearly sounds strained with emotion as effects provide a unique ambience. Near the end, “Anchors” is another exercise in sublime storytelling with much beauty, and “Hands On The Table” finishes out the affair with the elegance, grit and reflective approach that the entire listen is dripping in.

As one of the most prolific singer-songwriters in indie-rock, In The Shape Of A Storm is Jurado’s 14 studio album, and, as a testimony to his unparalleled skill, was recorded in just 2 hours. A stunning artist not only musically, Jurado is also a strong lyricist, as this album stirs the soul with sublime intimacy, haunting moments and a moving delicateness that few could replicate.

Travels well with: David Bazan- Strange Negotiations; Peasant- On The Ground

Wooh Dang

Superpuma, 2019

8/10

Listen to Wooh Dang

A Swedish singer-songwriter with a penchant for homemade instruments and home recording techniques, Wooh Dang is Daniel Norgren’s 8th album since 2007, and quite possibly his most daring effort that brings field recordings, live performances and analog sounds to a listen with endless creativity.

“Blue Sky Moon” starts off with ambient, warbling sounds that sets the mood for the thoughtful listen, and “The Flow” follows with quaint keys and a sparse atmosphere, where distant vocals seep in hazily. “Dandelion” is when Norgren spreads his wings into a bluesy shuffling, and “The Power” keeps the setting similarly thriving with strong piano and tambourine and a retro feel.

The second half keeps the ingenuity high, with the soulful and vocally expressive “So Glad”, while “Let Love Run The Game” picks up the pace, recruiting robust guitar work and gritty singing that gets close to country sounds. Near the end “When I Hold You In My Arms” finds Norgren playfully romantic with Spanish influences, and the title track closer ends similar to how it starts, vocal-less and mesmerizing.

Recorded in a 19th century farmhouse in Sweden, Norgren brings to mind artists as notable as Brian Eno, Neil Young and Bob Dylan here, and his brand of off kilter Americana welcomes atypical electronica, New Age ideas, and avant-garde folk sounds that are experimental in all the best ways. Wooh Dang is Norgren’s first international release, and really, it’s about time the entire globe embraced this unique talent.

Travels well with: The Tallest Man On Earth- The Wild Hunt; Willie Watson- Folk Singer Vol. 1

Eight Track III

Strikezone, 2019

8/10

Listen to Eight Track III

The always impressive Dave Stryker returns with an all star cast of Jared Gold, Stejon Harris, McClenty Hunter, and Mayra Casales to finish out the trilogy of his well received Eight Track series.

Early in the listen, “Papa Was A Rollin’ Stone” yields a busy, dynamic interplay between the musicians, just after the soulful, light jazz opener of “Move On up”. “Pretzel Logic” then moves with a soothing warmth and restrained pace while Stevie Wonder’s “Too High” sees a rhythmic reworking where Stryker’s guitar acrobatics glide alongside swift vibraphone and warm organs.

Later on Burt Bachrach’s “This Guy’s In Love With You” recruits swing ideas and subtle funk exists on the adventurous “Everybody Loves The Sunshine”. The 2nd Stevie Wonder tune present, “Joy Inside My Tears”, closes out the album with bluesy balladry and timeless melody- a theme that runs through the entire listen.

As always, Stryker and company put a fun, sophisticated spin on ‘70s classic tunes. Though it seems like this may be the end of the Eight Track series, if part 4 comes into fruition, I don’t think anyone is going to mind.

Travels well with: Jared Gold- Reemergence; John Scofield- What We Do

Live At The Keswick

Self-Released, 2019

9/10

Listen to Live At The Keswick

For the uninitiated, David Uosikkinen is the drummer for the long running rock’n’roll outfit The Hooters, who had a handful of hits in the ‘80s, sold millions of albums and are still together today.

Since 2010, Uosikkinen’s In The Pocket project has been busy playing and releasing music with Philadelphia’s finest musicians, and here we are treated to a live show recording from December 28, 2018 with some really well done covers.

“Shelter Me” (Cinderella) gets the party started with a timeless rock’n’roll spirit where the collaborative spirit of the ensemble brings in blues to the affair, and “Be My Baby” follows with plenty of vocals on hand to help retain the soulful melody of this Ronettes classic.

Uosikkinen has a varied past, playing with legends like Alice Cooper, Rod Stewart and Cyndi Lauper to name a few, and this is quite evident in the versatile sounds here. While “My Mistake” highlights piano rock from a very sophisticated angle, “Good To Be King” finds us entering funk territory with plenty of frisky ideas. Elsewhere, “My Baby” meshes horns, keys and a rowdy atmosphere for a bar room romper, and “Lucy In The Sky With Diamonds” gets gritty in all the right ways.

Near the end Uosikkinen covers his own band with a modern twist on the classic Hooters’ smash hit “And We Danced”, and the set ends on the cautious interpretation of “Get Together” with Ben Arnold handling vocal duties.

With 23 musicians on the stage during this recording, we’re treated to much diversity and a really eclectic selection of classics that deserve to be reinvented. Much like everything Uosikkinen has been attached to, Live At The Keswick is an extraordinary effort with incredible sound that any and all fans of rock’n’roll will be enamored with.

Travels well with: The Hooters- Time Stand Still; Smash Palace- Do It Again

How Could A Man

Self-Released, 2019

8/10

Listen to How Could A Man

A DIY singer-songwriter from San Luis Obispo, California, Derek Senn, a working family man, fleshes out his songs at home, where he fine tunes them before they reach the studio. Armed with a penchant for Americana and indie-folk sounds, Senn hits a career high here with a well thought out and memorable 3rd solo album.

“Alaska” gets the listen off to a warm start with brushed percussion and Senn’s deep vocals guiding a moody Americana tune, and “How Could A Man” follows with a quicker pace a gentle rhythm and a smooth vocal delivery . Elsewhere, “Botox” brings a fuller atmosphere with electric guitar, louder drums and harmonica to an expansive folk-rocker, while “Have A Nice Day” offers rich instrumentation in a gritty, jangly sort of way that reminds us of Conor Oberst.

The back half of the album remains varied and interesting, with the pop-influenced “Babysitter”, the sparse, campfire-esque “Pretty Things” and the spirited rock of “The Oil Oligopoly”. The listen ends on “Some Chase A Girl”, where Senn alternates between singing and talking on a sweet acoustic closer.

Although he cut his teeth playing in much rawer environments, these days Senn is reflective, cautious and sometimes humorous on this genuine and carefully crafted display of clever, feel good tracks. The CD version even comes with a 16 page booklet designed by Senn- another good reason to pick up the physical form.

Travels well with: Bright Eyes- I’m Wide Awake It’s Morning; Kevin Devine- Put Your Ghosts To Rest

These Times

Anti-, 2019

9/10

Listen to These Times

Their 3rd album since reforming in 2012, Los Angeles rockers The Dream Syndicate, lead by the always prolific Steve Wynn, return with another accomplished mashing of their genre hopping sounds

The album starts with “The Way In”, a retro tune with plenty of jangle amid a sonically challenging version of power-pop and glam-rock, and “Put Some Miles On” follows with a swift pace of spacey sounds. Elsewhere, “Black Light” gets dark and cryptic with an ominous quality, while “Bullet Holes” takes nods to ‘60s rock with a smooth delivery.

The back half of the listen offers the riff heavy “Speedway”, where charged guitars, fleeting harmonicas and a dense atmosphere make this one of the best tunes present, though the driving folk-rock of “Recovery Mode” is a close 2nd. Near the end, “Space Age” offers a thick, turbulent rocker with plenty of hooks and “Treading Water Underneath The Stars” closes the album with an expansive and psyche-filled wandering exit.

Wynn is as creative as ever here, taking nods- subtle and sometimes very apparent- to legends like The Beatles, Steely Dan, R.E.M., and Lou Reed on this highly eclectic outing. Amazingly, despite how intricate the setting is, there’s much mass appeal on this neo-psychedelic journey.

Travels well with: The Long Ryders- Psychedelic Country Soul; The Feelies- In Between

Cordelia Elsewhere

Deer Lodge, 2019

10/10

Listen to Cordelia Elsewhere

The brainchild of veteran musician Morgan Geer, who you might recognize as the current guitarist for the alt-country goths Freakwater, Drunken Prayer also has Geer taking up vocals, percussion and keys on this 5th album of adventurous and timeless song craft.

Though soft acoustic strumming starts the affair on “Into The Water”, it quickly shifts into a sturdy roots rocker with a blue spirit, and the introspective “Rubble and Dust” follows where the setting is less dense but no less impactful with smoldering pedal steel

After a captivating start, the listen just gets better with the acoustic balladry of “Cordelia”, the driving rock of “Science”, and the quirky, bluesy, country song “Fifty Foot Locust”, where Geer’s direct vocals are supported with an orchestral slant.

The back half of the album impresses, too, as the punchy garage rock of “It Happens All The Time” and the subdued and cozy, soulful “Ni Ni Neo” bring skilled variety, while the full rock sounds of “Four Leaf Clover” emit an uproarious, anthemic rustic rocker that could soundtrack a bar dance as well as a bar fight. “Time To Go” finishes out the record sparse, with minimal instrumentation that’s elegant, warm and truly reveals the depth of this enormous talent.

While there’s no doubt that Geer can hold down the show on his own, he’s in great company here with members of Man or Astro-man? and The Handsome Family. Whether you’re a fan of power-pop, garage rock or the twang of Nashville, Cordelia Elsewhere will certainly not only impress you, but will likely have you thinking ‘record of the year’ greatness.

Travels well with: The Lonesome Billies- It’s Good To Be Lonesome; Banditos- Visionland

(Blessing In Disguise)

Mello, 2019

8/10

Listen to (Blessing In Disguise)

A Canadian producer with a penchant for instrumental music with plenty of hip-hop ideas, Ontario’s Elaquent has truly constructed a sound all his own, and with "(Blessing In Disguise) he craft melodies and rhythm in spades, and from a unique perspective.

After a brief intro of keys amid spacey sounds and background soundbites in “Sunrays”, “Flyaway” gets into soulful, R&B flavored electro-pop, as does “Bury The Past”, which gets fuller in scope and blurry with plenty of melody. Further down the line “Trapdoor” moves with a sophisticated hip-hop angle including boom bap nods, while “Onigiri” recruits middle-eastern sounds into lively beats.

At 15 tracks present, there’s much to absorb here, but Elaquent’s versatile use of texturing yields new ideas with each track. Near the end, “Princess” brings a hazy feeling where vocals are manipulated for effect, and “Airplane Mode” offers us a hypnotic formula that’s as adventurous as it is chilling. One of the album’s best, “Still Snoozing”, featuring Croup, flows with shimmering pop, and another highlight, “Moment Of Weakness”, tips it hat to jazz.

Recorded almost entirely on a vacation in Jamaica, the album’s themes surround resilience, something Elaquent is well versed in as he’s an autodidact with his art, and even though he seemed to be in a creative stalemate lately, this flourishing album sees him as innovative as he’s ever been.

Travels well with: Mndsgn- Snax; Knxwledge-Anthology

The Gershwin & Bernstein Connection

Navona, 2019

8/10

Listen to The Gershwin & Bernstein Connection

The piano extraordinaire Eliane Rodrigues highlights the infinitely influential work of Gershwin and Bernstein here, and she even brings in some family to help her as her daughter Nina Smeets also showcases her skills with the keys across this expansive listen.

“Rhapsody In Blue” starts the affair with spirited keys that get both extremely playful and soothingly cautious with a fine balance of light and dark with well executed percussion, and “Symphonic Dances From West Side Story” follows and is broken up into 10 portions that alternate between loud and reckless to refined moments of sweeping grace. Included in this portion is an even more lovely version of “Somewhere”, where the ensemble reinvent the classic with radiant beauty.

“Concerto In F” ends the album with 3 lengthy sections where the faintest of faint versus the busiest of busy arrive, as the songs unfold with daring sophistication and lively sections that few, if anyone, could replicate.

An extremely well thought out record that rewrites some of the most timeless work from the seminal composers, while Rodrigues and Smeets handle the piano with unimaginable talent, the percussion from Carlo Willems and Koen Wilmaers truly sets this apart in the field of classical music, making for an engaging, and absorbing effort.

Travels well with: Alice Sara Ott- Chopin: Complete Waltzes; Lisa Hilton- Seduction

The Birdsongs Project

Self-Released, 2019

8/10

Listen to The Birdsongs Project

A bird enthusiast and accomplished vocalist and lyricist, Ellynne Rey is in great company here as she reworks songs about our feathered friends from legends like Joni Mitchell and The Beatles, as well as tossing in some originals, too.

“Conversations With A Snowy Owl” starts the listen with bright vocals from Rey and jazz-waltz fueled, light instrumentation, before “I Thought I Heard A Hummingbird” recruits rhythmic strings and bursting horns into an elegant setting. Elsewhere, “Skylark” brings soothing tambourine to a lounge jazz atmosphere, while “The Shadow Of Your Tumble” offers tumbling keys and a swift pace on a lively, frisky tune.

The second half of the album offers the busy and lush, saxophone friendly “Baltimore Oriole”, the vocally expressive “Bird Alone”, which sits closer to ballad territory, and the soft and agile “Flamingo”. The listen exits on “Blackbird”, an upbeat and playful interpretation that soars with timeless melody and irresistible charm while bluesy guitars punctuate the mood.

Those in tune with nature and who appreciate easy going jazz sounds will find much to enjoy here, as Rey and company bring quirky and creative ideas to this really adorable and accomplished record.

Travels well with: Carmen McRae- Can’t Hide Love; Dianne Reeves- Bridges

Throwing Shapes

Self-Released, 2019

9/10

Listen to Throwing Shapes

A Canadian songstress currently living in Ireland, you might say that Emily Jean Flack had music ingrained in her DNA as her mother Denise was the vocalist for the Canadian Celtic pop legends Leahy. This 5 song EP carries on the familial tradition of Celtic ideas as the young Flack bridges the sounds of her Ontario home with her current residence, and brings along a wealth of heart and soul to the affair.

“Another Year Gone By” leads with graceful keys, highly expressive and soaring vocals from Flack, as well as adventurous instrumentation including a flute from Brian Finnegan (of Flook), while “One Word” brings a more bare setting with heavy attention to mood with its subdued beauty.

With a dozen or so musicians lending a hand, Flack’s work is never short on diversity, especially with the upbeat, pop influenced “Not Gonna Be The One”, though “Tread Softly” is primarily Flack and her piano on warm balladry that parallels the greatness achieved by Tori Amos or Sarah McLachlan while showcasing her incredible vocal range. “Throwing Shapes” ends the EP playfully with busy pop-rock ideas and creativity that seemingly knows no boundaries.

A woman with an incredible amount of talent, Throwing Shapes breathes emotion, power and rawness from an artist who is clearly moved, inspired and driven by the idea of producing timeless, meaningful music.

Travels well with: Christina Perri - Lovestrong; Bon Iver- For Emma, Forever Ago

Undress

Yep Roc, 2019

8/10

Listen to Undress

After 3 years since their last album, the former subway performers The Felice Brothers return with Undress, an album recorded live to tape with minimal overdubbing. Their most political and reflective album to date, the New Yorkers take full advantage of the onslaught of obstacles in their lives as well as the world with well told stories accompanied by their always impressive musicianship.

The title track starts the album sparse and ambient before bursting into flowing rootsy rock with horns, backing vocals and warm melodies, and “Holy Weight Champ” follows with a stark atmosphere and occasional spoken word.

Further on, the upbeat folk-rock and call and response vocals of “Special Announcement” as well as the swift pace and busy instrumentation ensure a good time is to be had by all, while the crisp Americana of “TV Mama” carries a tone that will make you just want to mull things over.

Near the end, “Jack Reminiscing” shuffles quickly enough to soundtrack a party, and pairs well with the soft and rhythmic strummer of “Days Of The Years”. “Socrates” ends the record with an ebullient and cautious approach where alternating ebbs of gentle keys and fuller bouts of scathing anger punctuate the thoughtful, articulate nature of the record.

Ian and James Felice are joined by Will Lawrence and new bassist Jesske Hume on this 14th album, and bring accordions, banjo, pedal steel and plenty of other noisemakers to the affair. Full of scrappy blue collar anthems that wander around folk, garage and country rock, while many lump The Felice Brothers into the Mumford and Avett category, there’s a whole lot Springsteen spirit here on a luminous record in an already incredible back catalog.

Travels well with: Justin Townes Earle- Kids In The Street; Ryan Adams- Cold Roses

Black & White

Easystar, 2019

8/10

Listen to Black & White

Hawaii stars The Green have been quite prolific since their inception in 2009, as Black & White is their 5th album of rock, pop, reggae and dub sounds that puts the band in a category that allows them a fanbase at varied locations like The Vans Warped Tour as well as the Sierra Nevada World Music Festival.

This time around the sextet take a different approach by going unplugged, and “Alone” starts off with soothing and frisky guitars that breed soulful rhythm along with vocals that show much range, while the vocal harmonies of “Good Vibration” follows before a warm reggae spirit settles in. “Runaway Train” then recruits intricate guitar work with backing vocals, while “Love I” releases a romantic atmosphere with summery melodies along the way.

The middle of the album offers us the lush and textured “Alive”, the dramatic and careful “Decisions”, and one of the album’s best, the twinkling beauty of “What Will Be Will Be'“, where strong, expressive vocals meet a playful setting of bright percussion.

Late highlights include the timeless strumming of “Trod The Hard Road”, the universal appeal of “All I Need”, and the harmonica friendly “Never”, which brings in supporting vocals to punctuate the lively and emotive track.

Already known as the first reggae outfit from Hawaii to find success on the contiguous United States, even though Black & White offers us previously released tunes, they are all reinvented in this intimate and spontaneous atmosphere that embraces a capella and flamenco moments and, most importantly, strips the songs bare to truly illuminate how much talent is present.

Travels wel with: Slightly Stoopid- Everyday Life, Everyday People; Rebelution- Falling Into Place

King Youngblood

Very Juicy, 2019

8/10

Listen to King Youngblood

A young outfit hailing from Seattle, Gypsy Temple are certainly keeping the long lineage of alt-rock from their hometown alive on this very accomplished debut album.

“Heavy Handed” starts out the listen with a mashing of ‘90s alt-rock and current indie-rock, where hard hitting yet melodic swirling guitars make it instantly memorable, and “2nd Place” follows with a dense groove and intricate musicianship.

Gypsy Temple aren’t just about loud versions of rock though. “Today” trims the volume back to sparse, reflective sounds before thundering percussion creeps in, and “Pick A Number” recruits keys and strings into an emotive variation of pensive song craft that also gets intense, nearly cathartic.

Though there isn’t a dud in the bunch here, highlights include the crunchy alt-rock and strategic horns of “Still Standing”, and the anthemic “Forget About It”, where driving guitars and a sturdy rhythm reveal the potential of Gypsy Temple to one day play a sold out stadium near you.

A band that started a decade ago under the vision of frontman Cameron Miles-Lavi-Jones, these days he’s in great company who have been classically trained but still have plenty of grit and power on this exceptional first LP.

Travels well with: Soundgarden- Badmotorfinger; Audioslave- Audioslave

Out Of My Head

Self-Released, 2019

8/10

Listen to Out Of My Head

An Australian musician who left his home country in his late teens to pursue his dream in America, Hamish Anderson has already made quite an impression with a couple of EPs and an album that left him opening for B.B. King shortly before his death and more recently Gary Clark Jr.

This sophomore album puts the exclamation point on this young talent, as “No Good” starts out the affair in warm blues territory with spirited licks and Anderson’s rich vocals that are complemented by the moody organs, while the rowdy “Breaking Down” follows with a punchy delivery and energetic rock’n’roll flavor.

Elsewhere, Anderson gets soulful with the fuzzed out “You Give Me Something”, and further on “Out Of My Head” carries a ballad like setting with cozy intimacy that continues with the soft rock sounds of “The Fall”.

Back half highlights include the lush, textured “World’s Gone Mad”, which draws parallel to the greatness achieved by Tom Petty, and the acoustic prowess of “Happy Again”, which has Anderson channeling an inner Eric Clapton with great results. The album ends on “Dark Eyes”, a wise and agile exit of sublime beauty with elegant keys and gentle, flowing music.

Anderson is a hell of a guitar player and his voice is certainly worthy of your attention, too, but this isn’t just about big rock sounds as the youngster possesses a wise and mature side where soul, R&B, and Americana are delivered with precision and warmth. If Hamish Anderson is a household name by the end of the decade, it wouldn’t surprise me one bit. This guy has the kind of chops capable of making giant waves.

Travels well with: Hollis Brown- Nothing & The Famous No One; Alastair Greene- Live From The 805

“Save The Ones You Love”

Self-Released, 2019

8/10

Listen to “Save The Ones You Love”

A New York outfit who already have a pair of well received albums under their belt, this time Heathcote Hill are armed with 5 tracks, all of which bring graceful, soothing and warm melodies to their timeless spirit.

The title track starts the quick listen with rich guitar work and soft, expressive vocals from Megan Porcaro Herspring before the calm and spirited “Till These Troubles Pass Through”, where harmonies, guitar solos and cautious interplay makes this a particularly cozy affair.

The remainder of the listen offers the swift, classic rock and slight Americana influences of “Reckless Love”, while “Remember You Are Mine” tosses shards of blues into the thoughtful, carefully crafted formula. “Never Change Your Mind” ends the EP with more focus on percussion, where backing vocals and organs punctuate the soulful template of the brief record.

A very mature, emotional and genuine listen, pieces of Americana, folk, pop and country all invade these tunes, and the powerful, esteemed delivery make it impossible not to adore Heathcote Hill.

Travels well with: Natalie Merchant- Tigerlily; Susan Tedeschi- Back To The River

Rewire

Self-Released, 2019

9/10

Listen to Rewire

Cleveland has never been short on thriving and exceptional variations of rock’n’roll, and we can certainly add Holden Laurence’s sophomore album, Rewire, to that long list. Armed with a songwriting prowess that often points to ‘80s alt-rock as well as today’s version of indie-rock, the multi-instrumentalist and singer leaves an indelible mark here in all sorts of glorious ways.

“Shadows Of Old Love” starts the 10 track listen with a danceable beat before ‘80s influenced synth sweeps in, as does Laurence’s smooth vocals. and “Friendship And The Fever” follows with a gorgeous melody running under a moodier undercurrent of sounds from the early days of New Wave.

Elsewhere, his post-punk influences come through in tunes like “Speaking In Tongues”, where a catchy chorus is immediately memorable, while the pace is tamed down a bit with the slow burning, thoughtful “Lightning Strikes”.

Laurence pens the complete album here, where each tune seems stronger than the one before it, and further along “We’ll Always Have The Radio” is a bright indie-pop gem that could easily propel him into mainstream success, and on “Mary Magdalene” there’s some Robert Smith nods, albeit in a more upbeat fashion. Near the end, “Roses And A Romeo Mask” shifts into darker areas of exploration with jangly acoustic guitars, and “The Southern Wind” closes out the listen calm, where electronica meets indie-folk in a pensive and warm offering that reinforces the massive talent Laurence possesses.

A truly captivating listen, there’s plenty of hooks, grooves, and graceful versus gritty textures present that are as relevant today as they were in 1985. In a flooded genre, Rewire truly stands out as one of the best of the best, and I’ll gladly proclaim that Holden Laurence is one of the most overlooked artists that exists today.

Travels well with: The Smiths- Hatful Of Hollow; The Killers- Hot Fuss

Hollowlove

Self-Released, 2019

8/10

Listen to Hollowlove

This first album from the Vancouver electro-pop outfit wastes no time diving right into their pop filled ways with the buzzing synth and subtle strings of “Hazard Lights”, while the anthemic and breathy “Reset” follows with plenty of ambient melody.

Formerly known as Fidgital, Keith Gillard and Ryan Slemko may have renamed their creative outlet, but they haven’t lost any of the creative spark that made Fidgital so well received in their home country, as evidenced by the soulful dance tune “Origami Heart”, while the 7 minutes of the chilling “Diamond Mine” flows by with cascading beauty amid a playful, stylish setting.

Last album highlights include the beat driven and vocally expressive “Serpentine”, and the moody, highly rhythmic “Shapeshifting” that’s mysterious, almost haunting, but with a sleek appeal. The album ends on “Everything Falls In Line”, a restrained electro-pop gem that moves with gentle tension and a perfect mixture of elegance and friskiness.

An extremely fun listen that’s as striking as is cover art, Ryan Slemko’s dynamic vocals soar with an impressive falsetto, and the atmosphere is versatile enough to appeal to fans of post-punk, New Wave or even shoegaze sounds, too.

Travels well with: Junior Boys- It’s All True; Kutch- Notionside

Exotic Post Traumatic

Butler, 2019

9/10

Listen to Exotic Post Traumatic

A Budapest outfit with a penchant for glam-psyche sounds, Ivan & The Parazol’s 3rd album, Exotic Post Traumatic, brings the spirit of the ‘70s and injects it into a stylish and very modern sound where synth stabs, firm guitar work, and, most importantly, playful melodies populate the affair.

“NR. 1003” starts right out in psyche-rock areas with spacey, retro ideas, and “I Can’t Recall” retains that spirit with a strong vocal effort where a moody, yet playful and adventurous angle makes it one the album’s best.

As the record progresses, the textures become more varied with the nostalgic, classic feel of “What I’ve Been Through”, the scrappy garage rock of “Lonely Sunday”, and the nearly Americana ruggedness of “When I Was 17”.

Near the end, “Orchid” trims the volume and pace back with sparse guitars that builds into an ebullient display of throwback rock with thundering percussion and strong rhythm, while “Pink Ecstasy” recruits folksy acoustic strumming that brings blues moments to an eclectic closer.

A listen with plenty of energy and an affinity for distorted guitars and plenty of rhythm and groove, Ivan & The Parazol have been quite prolific since their inception in 2010, and this installment absolutely deserves global attention with their unique twist on indie-rock sounds.

Travels well with: T. Rex- The Slider; Arctic Monkeys- Humbug

Future Fantasies

Self-Released, 2019

8/10

Listen to Future Fantasies

Spearheaded by Kaja Bremnes, who handles vocals and synth, along with Andrew Steingold and Mesut Gursoy holding down guitars and drums, as Jackie Charles the trio are fully immersed in the moodier side of ‘80s post-punk and New Wave, as well as modern day dream-pop that’s pretty but also nihilistic.

“Amnesia” gets the album off to a bright start with shimmering melodies and stunning Bjork-like singing, and “If Death Was Sleep” brings the pace down to soft and agile, with expressive vocals from Bremnes as the music builds into fuller pop. Elsewhere, “Time Travel” gets closer to electro-pop with psyche-rock underpinnings that swirl with plenty of melodica, while “Dominkas Song” brings summery guitars and dreamy pop sounds to a hazy adventure.

Late album highlights include the syrupy sweet indie-pop of “Birthday Song”, the soaring and contemplative “Midnight Sun”, where Bremnas really lets her pipes shine, and the elegant and mysterious “Timing Is Essential” closes the listen up with a similar playfulness and sophistication it began on.

Even though they’ve just been around a couple of years, these 3 are really onto something with a sweet yet dark debut that is likely to appeal to both diehard goth fans as well as those who can’t help but dance to electro-pop that strikes a chord.

Travels well with: Alvvays- Alvvays; The Cure- Kiss Me, Kiss Me, Kiss Me

Joy

Self-Released, 2019

8/10

Listen to Joy

An accomplished guitarist and soul singer from Austin, Jackie Venson already made significant waves with her debut album, The Light In Me, and this effort further solidifies her as a powerful and fierce rocker that firmly grabs ahold of blues, R&B and soul sounds before molding them into her own emotive and adventurous formula.

At 20 tracks, there’s much to absorb here, but Venson’s esteemed talent makes each tune unique in its own right, from the beat heavy and synth friendly “Only Have You”, to the charged guitar licks of “Witchcraft”. On the nearly 7 minutes of “Back To Earth”, which is both exploratory and unclassifiable, she brings a wealth of sophisticated influences to the highly creative setting that proves just why she was named ‘Best Guitarist’ at the Austin Music Awards.

Further along “Don’t Lie To Me” highlights Venson’s atypical and flourishing rhythms, while “Joy” puts much emphasis on percussion until the giant chorus roars in and brings with it a punchy, warm spirit that could fill stadiums. The album exits on “When It’s Right”, a horn filled journey of agile power and deft instrumentation that parallels the greatness achieved by some of her heroes- Gary Clark Jr. and Buddy Guy.

Although she began her pursuit of music playing classical piano, now Venson is fully immersed in electric guitar, and, armed with a Berklee College of Music education, this is a woman with a bright future where heartfelt songwriting and exceptional attention to detail should make her a global superstar very soon.

Travels well with: Bonnie Raitt- Luck Of The Draw; Alabama Shakes- Sound & Color

Deepscape

Steeplechase, 2019

8/10

Listen to Deepscape

Though it’s been 2+ decades since bassist Jay Anderson has taken the lead on a recording, he’s certainly been busy adding his inimitable skills to recordings and performances with hundreds of jazz artists since the early 1990’s. With Deepscape, Anderson finds himself navigating the journey, as esteemed players Billy Drews, Kirk Knuffke, Matt Wilson, Frank Kimbrough and Rogerio Boccato lend their talents.

The title track starts the listen with 2 minutes of bass plucking against an ambient background, and “Shades Of Jazz” follows and indeed dives right into jazz with bright horns and a frisky pace. As the album gets deeper, Anderson and company get quite exploratory, with the cinematic and soothing sounds of “Rothko Chapel”, where a harmonium is used strategically, while “Southern Smiles” brings a whirlwind of ideas to a lively, jazzy adventure that tips its hat to New Orleans.

Deeper cuts like “Momentum” bring a wealth of ideas to the table with playful percussion and horns that weave in and out with timeless melody, and “The Mighty Sword” takes this approach and amplifies it with skittering instrumentation and a nearly chaotic scene that is, of course, held together with precision. Although many of the tunes here are covers, it’s often hard to tell as Anderson’s reinventions rarely resemble the originals, much like Billy Joel’s piano ballad, “And So It Goes”, which sees Anderson swapping keys for bass on a beautiful version of a classic that flows with a folk feeling.

A bassist since the age of 12, Anderson has appeared on an astonishing 400+ recordings to date, and his ultra-creative free jazz and post-bop ideas make Deepscape a must for fans of the genre, or anyone who can appreciate imaginative, sophisticated and daring sounds.

Travels well with: The Gil Evans Orchestra- Hidden Treasures Monday Nights: Volume One; Charlie Haden- American Dreams

The Great Divide

Self-Released, 2019

8/10

Listen to The Great Divide

A New York City outfit spearheaded by Jim Dolan, who handles guitar and vocals, his band includes musicians who have played with Rod Stewart, Rosanne Cash, and Sheryl Crow to name a few. The Great Divide, their latest effort, has the ensemble getting unplugged and creating Americana and folk sounds with a timeless delivery that’s immediately memorable.

The title tracks gets the listen off to a melodic and spirited start with plenty of twang, and “Dead Men Tell No Tales” follows with lush, textured sounds where the dynamic interplay between the instruments shines bright with Cajun influences. Further along, “It Must Be Night” recruits banjos for the swampy country tinted tune, while violins and vocal harmonies illuminate “I Should’ve Known”.

Back half highlights include the ballad-esque “Anything But Love”, which tugs on the heartstrings, and the playful, grooving fun of “Walkin’ On A Wire”. Near the end the band pay homage to The Turtles and The Allman Brothers, with “Happy Together” and “Jessica”, and the Americana makeovers give the classics an adventurous, warm fresh coat of paint.

A sophisticated listen with exceptional instrumentation, JD and company often seem indebted to the ‘60s and ‘70s while taking patches of blues, country, psyche-rock and folk ideas into their formula. A record diverse enough for roots rock fans as well as those with an affinity for the softer sounds of past decades, there’s much talent on board here, as evidence in the strong, fluid performance from beginning to end.

Travels well with: The Eagles- The Long Run; The Civil Wars- Barton Hollow

JEMS

Self-Released, 2019

8/10

Listen to Jems

A Los Angeles trio consisting of Jessica Rotter, Emily Colombier and Sarah Margaret Huff, this first album as JEMS brings irresistible 3 part harmonies to folk-rock sounds that are both powerful and thoughtful and executed with a graceful, timeless appeal.

JEMS don’t waste anytime showing us what they’re capable of, as “Take Me Back” gets the album off to a vocally harmonic and smooth start with melodic indie-pop under the 3 voices, and “Clay” follows with acoustic strumming in a dreamy setting of sparse beauty.

Though there exists agile and cautious instrumentation here, it’s the dynamic singing that truly makes the listen, as songs like “Master Weaver” do weave their lovely pipes together with pretty layering, and “Right On Time” offers us some pop influences wrapped in soothing sophisication

Near the end, “See Me Again” brings us chamber-pop influences into one of the fullest tracks present, and “Helplessly Hoping” ends the debut with gentle acoustic guitars and mature, engaging storytelling.

Though there’s been some solo success with these women in the past, together they bring unparalleled talent and a songwriting prowess that few could replicate. An excellent first album, expect these ladies to do very substantial, exciting things in the near future.

Travels well with: The Haden Triplets- The Haden Triplets; Sara Watkins- Young In All The Wrong Ways

Long Ago

Bonfire, 2019

8/10

Listen to Long Ago

A husband and wife duo who embrace all the things we love about Americana and bluegrass, this 3rd studio album from the pair brings 10 brand new tunes inspired by their time living in Indiana.

“Lovin’ You” gets the album off to a soothing start with Jim’s warm vocals flowing well with Lynna’s sweet pipes as the mandolin and banjo melodies fill the atmosphere. “Cradle To The Grave Blues” follows and indeed brings a blues spirit to a swift and thoughtful bluegrass stunner, while the Lynna led ballad “Growing Up Takes Times” illustrates sublime beauty.

The always impressive Clay Hess lends his talents on tracks like “Sugar Ridge Road” and “Long Ago”, which showcases his skill with banjo and mandolin well, and later tracks like “Somewhere Between California and Caroline” recruit Tim Crouch on fiddle and mandolin, which really punctuates the harmonies the Woolsey’s create.

A captivating listen that brings both traditional sounds as well as modern ideas to vivid storytelling, these rural, folk-tinted and lively gems are packed full of heart, emotion and accomplished musicianship that you won’t soon forget.

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

Hummingbird

Commoner/Thirty Tigers, 2019

8/10

Listen to Hummingbird

Though the name John Smith may not be familiar to you, the English guitar player has an impressive resume, playing with Iron & Wine, David Gray, Jools Holland, among others, and he’s even found time to release six solo albums since 2006. Hummingbird, his most graceful work to date, digs deep into some of his favorite songs that he’s played hundreds of time but didn’t record until now.

The title track starts off the humble listen with Smith’s husky vocals against light acoustic guitars, and “Lowlands Of Holland” continues that theme with an orchestral backdrop and a bit more forcefulness in the guitar work. Elsewhere, Smith gets dreamy with the introspective “Boudica”, while “Hares On The Mountain” takes a gentle yet agile approach with vivid imagery.

The second half is equally enchanting with the strong vocal work of “Master Kilby”, before “The Time Has Come” brings a slight Americana influence to an Anne Briggs classic. Deep cuts like the murder ballad “Axe Mountain (Revisited)” illustrates Smith’s storytelling prowess, and the ultra sparse “Unquiet Grave” brings some ambience to the oldest tune present.

A poetic and cautious peek into the folk prowess of an extremely talented artist, Smith flows through these tunes like they’re all his own (3 are originals), and even though he’s spent much of his time supporting household names, Hummingbird proves that he’s capable of taking center stage with the best of them, too.

Travels well with: Tall Heights- Neptune; Hudson Taylor- Feel It Again

Imposter

Bad Dog, 2019

8/10

Listen to Imposter

A career singer-songwriter and multi-instrumentalist who was part of the duo The Story in the late ‘80s before going solo in the mid ‘90s, the Massachusetts songstress Jonatha Brooke was one of the early DIY artists who started putting out her own records in the late ‘90s and connecting with her fans on the internet before most bands had an email address.

With “Imposter”, Brooke brings in a small army of musicians to help flesh out the very unique brand of folk, pop and highly eclectic ideas as the title tracks leads the EP with a wealth of instruments including accordions, violins and horns that complement Brooke’s stunning vocals. “Fire” follows with a sweet spirit that recruits talking and vocal manipulation as the atmosphere becomes cinematic, theatric and even carnivalesque like.

The last 3 tunes are just as diverse, with the calming flutes of “Twilight” accenting Brooke’s sensual, breathy pipes while the strings bring in an orchestral slant, and the more pop friendly “Revenge” recruits a touch of country spirit that illuminates the track. The quick listen ends on “True To You”, a piano ballad with an aching backdrop where Brooke’s vocals find new ranges that enthrall, leaving us hanging on every perfectly sung note.

Though Brooke’s name may not be familiar with most of us, we’ve all heard her music in several Disney movies, many tv shows and she’s even penned tunes with Katy Perry. Now a Minnesota resident, Imposter is keeping the time honored tradition of creative, unique and relevant music from the Twin Cities alive and exciting with this charming, very fun and glowing listen.

Travels well with: Ani DiFranco- Allergic To Water; Patty Griffin- American Kid

Tobiano

Self-Released, 2019

9/10

Listen to Tobiano

The 3rd solo album from the rocker turned oncologist Karen Haglof brings in some very capable guests as the veteran guitarist/songwriter delivers a multifaceted approach with strong riffs and warm singing to a self-described ‘I’ll-do-what-I-want-thank-you attitude.

“Tobiano Twist” gets the album off to a lively start with an upbeat, jangly roots rocker, and “Humbled And Chastened” follows with a shuffling pace that’s part country, and park folk-rocker. Elsewhere, “Because Of You” is a full, swift affair with her vocals both melodic and gritty, while “Foothold” trims the pace back with a dreamy and fluid acoustic strummer.

The middle of the disc keeps the setting strong and varied with the unexpected avant-garde fun of “These Are The Things”, the power-pop influenced “Favor Favor”, and the soulful keys of “Thugs In Academia”.

At 14 tracks, this is a lengthy listen, but Haglof never out welcomes her stay, as deeper cuts such as “Jane West Theme” offer dusty melodies, and one of the album highlights, “Idk- Top 1000”, brings us elegant and poetic songwriting to the well thought out listen. “Provenance Of Love- Let Em Go” ends the record with proficient guitar work on a feisty, punchy tune that ultimately leaves us wanting more.

Though Haglof cut her teeth in the fertile Minneapolis music scene of the ‘80s alongside The Replacements, Soul Asylum and Husker Du, she later moved to New York and joined Rhys Chatham’s band as well as Band Of Susans. While she went decades without playing a guitar when advancing her medical career, with a handful of releases in the 5 years, it’s pretty safe to say that Haglof’s skills haven’t diminished one bit and her songs are more confident, memorable and wise than anything she’s done to date.

Travels well with: Paul Westerberg- 14 Songs; Robert Poss- Frozen Flowers Curse The Day

Light In The Lowlands

Self-Released, 2019

8/10

Listen to Light In The Lowlands

Another rising star from Denver, Kelly Augustine’s debut album, Light In The Lowlands, brings poetic and elegant grace to her Americana influenced songs that surround topics like hope and pain and touches on many emotions that comprise the human experience.

Even though the opening tune, “Debbie”, starts us out in Nashville sounds with a swift, warm barnyard, twangy rocker, it isn’t long until “Second Chances” brings us into retro ballad territory, while “Hurt Too Big” takes that lead into darker areas of acoustic picking that slightly mirror Elliott Smith

The middle of the album has Augustine in an introspective mood with the chilling “Love Letter”, while “Can’t Get Enough” is an emotive exercise of cautious wordplay against gorgeous instrumentation. The country influences return on the fiddle friendly “Thunder On The Mountain”, where bluesy guitars really punctuate the affair.

Near the end, “Kindred Heart” touches on pop ideas with a firm beat, and the playful keys and orchestral backdrop of “Seeds Of Hope” help make this one of the album’s best. “Leaving You” closes out the affair soft and supple, and aches in a longing fashion, effectively putting the exclamation point on a very literate and cathartic listen.

Augustine’s got a great, soaring voice and is a hell of a storyteller, too. Despite some not so glamorous subject matter, it’s a glorious, highly melodic affair that often leaves us thinking of Augustine as a younger version of Lucinda Williams or Emmylou Harris. If this is the voice of the next Americana sensation, it wouldn’t surprise me one bit, as this young woman clearly has the talent to be a household name.

Travels well with: Patty Griffin- American Kid; Mark Knopfler- Privateering

Even The Sparrow

Rare Bird, 2019

9/10

Listen to Even The Sparrow

A Memphis native now living in Kansas City, on Kelly Hunt’s first album, Even The Sparrow, the songstress pairs an old time banjo with her inimitable singing as friends lend a hand on pedal steel, upright bass, organs and fiddles.

“Across The Great Divide” gets the album off to gentle banjo plucking and Hunt’s soft and expressive vocals that retain a Celtic quality, and “Even The Sparrow” follows with moody strings to complement the emotive and pretty landscape. Elsewhere, “Back To Dixie” recruits a punchy, upbeat spirit that’s danceable, while “Fingernail Moon” brings a fuller setting with a swift pace and lush instrumentation.

Back half highlights include the blues ideas of “Delta Blues”, where folk and southern sounds are in attendance, the soul stirring “Nothin’ On My Mind”, and the frisky Americana of “Oh Brother, Where Art Though?”, where rootsy, mountainous music resides. The album exits on the country-gospel shuffling of “Gloryland”, a fun and addictive duet that’s warm and spiritually comforting.

If you’re someone who thinks that all banjo focused music sounds the same, well, you haven’t heard Kelly Hunt, then. Not only is her voice unpredictable, it often changes in tone and is susceptible to gorgeous manipulation, and her depression era 2nd hand banjo emits a sound not quite like any other stringed instrument, making Even The Sparrow a brilliant, mesmerizing experience.

Travels well with: Patty Griffin- American Kid; Gillian Welch- The Harrow & The Harvest

A Wall Becomes A Bridge

Blue Note, 2019

8/10

Listen to A Wall Becomes A Bridge

An esteemed drummer and composer, though Kendrick Scott was dealing with much self-doubt when making A Wall Becomes A Bridge, his band and producer Derrick Hodge helped flesh out this gorgeous, cultured and very uniquely textured 4th album.

A soundbite on “New Eyes” starts the album where a blurry setting leads into the rhodes, soprano saxphone and drum sounds by Scott that yield an ambient but proficient jazz feeling, and “Moccan” follows with fluttering keys though it’s Scott’s quick percussion that really makes the tune.

Though each song is generally full with a small handful of players contributing, it’s exactly that type of dynamic interplay that makes “Voices”, where actual vocals are present but don’t emit a word, such a collaborative highlight, though “Beloved” is the anomaly with just keys and a turntable for a hazy yet sophisticated mashing.

Late album highlights include the playful and club friendly, nearly psche-rock “Horizons”, the tense yet cinematic post-bop “The Catalyst”, and the lovely “Archangel” closes out the record with a dreamy, airy exit where flutes and wispy vocals punctuate the affair.

A very thoughtful record inspired by an intention to face the fears and insecurities that keep each of us from engaging collectively, A Wall Becomes A Bridge is a brave, adventurous and compelling listen that shines bright on the always impressive Blue Note label.

Travels well with: Marcus Strickland Twi-Life- People Of The Sun; Kurt Rosenwinkel- Stars Of Jupiter

Mom & Dad

BBYV, 2019

10/10

Listen to Mom & Dad

Gregg Dolan, the frontman, guitarist and songwriter for Denver’s Kissing Party, doesn’t appear to do anything conventional. Hell, he even began this band by booking a show without even having the members yet, and managed to wrangle a line up of strangers and a set in 30 days.

Self-described as ‘slop-pop’, Dolan and company tear through quick blasts of hooky, quirky and unpredictableness, starting out with the dreamy ‘80s sounds of “Wasted World’s Apart”, and that continues on with the jumpy and hazy “Celebrity Of My Heart”, a clever tune that would make Morrissey and Marr proud.

The album only gets better from there, especially on the bluesy guitar riffs and sweet female vocals of “Jesse”, the post-punk influenced “A Little Star”, and swift, moody rock of “Little Darlings”.

The back half of the listen is just as impressive, with the breathy, light and airy “Coulda Been Me”, the scrappy pop-punk stylings of “Mom & Dad”, and the multifaceted “Bratface”, which brings countless creative ideas to the table. The album ends on “Transformed”, a maudlin moment of sparse beauty that comes with an ominous backdrop.

In just over 30 minutes, Kissing Party succeed in what others will never achieve- penning the perfect pop album. While some parts jangle, and others crunch, there’s plenty of power and endless melody in this album of the year contender.

Travels well with: The Smiths- Hatful Of Hollow; The Wedding Present- Seamonsters

The Sound Of Lasso

Mello Music, 2019

8/10

Listen to The Sound Of Lasso

Perhaps best known as the producer for Lando Chill, these days The Lasso is back in his home state of Michigan, enjoying the less hectic lifestyle and fleshing out sounds under his own name, along with help from plenty of esteemed Midwestern noise makers.

“Forevergreen” gets the album off to a memorable start with atmospheric keys that segue into spacey, psyche-flavored instrumentation where wordless vocals are used as an instrument, and “Respiration” follows with a sturdy beat and cosmic ideas in an experimental pop tune.

An album with a large amount of playfulness, later tracks like “Heaven” are heavy on mood with cello melodies and electro-pop ideas, while the chilling and lush “Plum” unfolds with jazz influences. One of the busiest tracks, “Heliotrope”, is adventurous enough to recruit pedal steel, saxophone and vibraphone to a futuristic, tribal affair that’s blurry, mesmerizing and entirely unique.

Late album highlights include the hip-hip friendly “Sol”, where guitar texturing is ultra-creative and the orchestral slanted “Oscillations” which host violins and cellos in an ethereal journey of cascading beauty and daring musicianship.

A self-described studio rat, The Lasso fleshed out this album in 2 months, and his detailed manipulation of both synthetic and organic sounds comes through in a swirling display of emotive and ambient creativeness that speaks loudly with no actual words.

Travels well with: Lando Chill- Black Ego; Elaquent- (Blessing In Disguise)

Be Good To Yourself

Self-Released, 2019

8/10

Listen to Be Good To Yourself

Though this might be the first album from the Boston psyche-folk collective, Lick Neon certainly don’t sound like neophytes on this charming and instantly enjoyable listen. After a couple years of honing their craft in basement shows, the band run the gamut on all the sophisticated angles of rock with influences that span several decades on Be Good To Yourself.

“Lick Neon” starts off the record with a loose piano based tune that’s laid back and playful in a Jerry Garcia sort of way before the acoustic strumming of “Slip”, where expressive vocals meet a calming atmosphere. An album full of elegance, tracks like the pretty and rhythmic “She Thinks I Don’t Care” and the cultured “Anxious Bones” further solidify that notion, while the light jazz feelings of “My Face Is Hanging Low” brings that sophistication to an entirely new level.

The back half extends further into lounge jazz ideas with the smooth and agile “Take My Dreams”, and subtle funk invades the colorful “The Cold”. Elsewhere, “The Flood” brings more forceful sounds to a cozy folk tune, and the comforting listen ends on the ‘70s influences of the tuneful and glorious “So Long”.

A really thoughtful affair with much quality both musically and lyrically, Lick Neon are yet another promising young outfit from the always fertile Boston music scene, and if Be Good To Yourself is any indication, they won’t be riding in obscurity as far as the rest of the world is concerned for very long.

Travels well with: Jose Gonzales- In Our Nature; Cat Stevens- Catch Bull At Four

Thunder In My Arms

Footprint, 2019

8/10

Listen to Thunder In My Arms

A Vermont artist with a lengthy career as a fiddler and ballad singer, the impetus for Thunder In My Arms was born out of Lissa Schneckenburger’s experience as a foster and adoptive parent. An extremely emotional and powerful listen, the subject matter surrounds both euphoria and difficulty in the area of parenting, and is delivered with much grace and forthrightness.

“Look Away” starts the album with crisp percussion and Schneckenburger’s expressive vocals guiding the thoughtful and pensive tune, and “On My Own” follows with strings, a soft beat and rich instrumentation. An artist with varied talents, “Since The Day We Met” brings the setting closer to classic rock, while “I Need Us Together” offers piano balladry that’s agile and cautious.

Further along, “They Sent Me A Picture” makes great use of acoustic guitar melodica, and “I’ll Stick Around” brings the listen into orchestral and playful sounds. Near the end, “Blow Out The Candles” recruits indie-pop ideas with superb singing, and “When The Baby Cries” finishes the album with a lullaby-esque track where vocal harmonies from Stefan Amidon make this a strategic and soothing exit.

Even if you aren’t a parent, Schneckenburger’s first album of all original songs is certainly worth a listen for its creative and genuine sounds where cellos, violas, keys, trombones and plenty of harmony vocals make for a gorgeous, timeless experience.

Travels well with: Ani DiFranco- Allergic To Water; Sara Bareilles- Little Voice

Last Call For Dreamers

Edgewater, 2019

8/10

Listen to Last Call For Dreamers

The Pacific Northwest country/folk-rockers The Lowdown Drifters return with a 2nd album of timeless, genuine and easily accessible sounds that they’ve been honing for the past few years with countless shows and festival appearances.

“Red Rock” starts out indebted to classic country sounds with deep vocals against a twangy atmosphere, and “We Three Kings” follows with a quicker pace and fuller sound that’s full of dramatic and melodic twists and traditional country ideas. Elswhere, the band get rugged and more forceful on “Won’t Find Me Anymore”, while “Last Night In Denver” goes the opposite direction with a sparse opening and humorous wordplay about the ills of the music industry.

At 13 tracks, there’s much to absorb here, but The Lowdown Drifters keep us interested with much variety, such as the alt-country rockin’ of “Diesel Smoke”, the introspective and emotive “Between The Bottle And The Bottle”, and the barnyard romper “Barstools” that will get every cowboy on the dance floor. The irresistible album ends on the playful “Empty Bottles”, where just the right amount of grace and grit are present.

Whether you prefer the more straightforward approach of artists like Vince Gill or the more raw methods of Lucero, this Washington outfit will sate your palate quite nicely with their universal stories that touch gracefully on the human experience and well crafted, precisely delivered music.

Travels well with: 500 Miles To Memphis- Blessed Be The Damned; Tylor & The Train Robbers- Best Of The Worst Kind

Heritage II

Ropeadope, 2019

8/10

Listen to Heritage II

The 2nd installment of jazz and Japanese influenced sounds where Western ideas are also present, Mark de Clive-Lowe’s Heritage was very well received for its cultural and personal exploration and Heritage II extends into similar territory.

“O-Edo NihonBashi” starts the album on a high note with calming keys that segue into a traditional Japanese folk tune where flutes and beats are dominate, and “Bushido II” follows with playfulness in the area of drum and bass ideas that shuffle and toss with precise chaos.

Elsewhere, “Ryugu jo” begins bare with fluttering keys and a cryptic atmosphere before building into dramatic beauty with plucked strings, while “Shitenno” emits bright saxophones amid spacey noises. The accomplished listen ends on the light, soulful “Mirai no Rekishi”, which might be the most obvious jazz tune, but not without plenty of experimental stabs.

An artist well versed in jazz, house, hip-hop and atypical ideas, much like Heritage, Heritage II was also recorded live with some studio work thrown in, though you can’t tell where live stops and studio begins as de Clive-Lowe manipulates the ideas flawlessly into an electro-jazz meets hip-hop hybrid that no one else could replicate.

Travels well with: Marcus Strickland Twi-Life- People Of The Sun; Atjazz- That Something

American Highway

Plowboy, 2019

9/10

Listen to American Highway

Though he was most active in the early ‘90s with a trio of well received major label albums, Marty Brown has reignited his career 25 years later with American Highway, undoubtedly his defining and most accomplished work yet.

“American Highway” starts the album with melodic classic country sounds where Brown’s voice is complemented by keys and warm guitar work, and “I’m On A Roll (Better Than It’s Ever Been)” follows with an upbeat, country rocker and a feel good spirit. Elsewhere, “Umbrella Lovers” brings the atmosphere to pensive territory, while “When The Blues Come Around” does bring blues influences to the cautious setting.

Further along, “Right Out Of Left Field” recruits a festive tone with punchy keys and a barnyard rockin’ feeling, and the moody harmonica of “Kentucky Blues” lays the setting for rich balladry. Near the end, “Velvet Chains” yield harmonic pop influences into what could be a radio hit for Brown, and “Mona Lisa Smiles” ends the listen with a hint of gospel in Brown’s timeless formula.

Surprisingly, Brown’s return was a result of his performance of Bob Dylan’s “Make You Feel My Love” on a popular reality TV show that not only led to a record deal, but convinced the veteran troubadour that it was time to move back into the spotlight. A triumphant return indeed, Brown’s ability to embrace, blues, gospel and rockabilly into his country template makes American Highway a must hear record for all ears that gravitate towards strong, mature, agile song craft.

Travels well with: Waylon Jennings- Right For The Time; John Hiatt- The Eclipse Sessions

YYYMF

Hovercraft, 2019

9/10

Listen to YYYMF

The duo of Shawn Holly and Jest Commons (who played with Moldy Peaches many moons ago), as Mythological Horses the pair bring their influences from their respective upbringings (Alaska and Washington) to a alt-rock affair where members from Fastbacks and TAD make apperances.

“Wax Lung” starts the album on a bizarre yet alluring track with throbbing garage rock meets howling vocals that’s part punk, part retro rock. From there “Turn Around” follows with a less aggressive atmosphere where fuzzy guitars and a warm, jangly atmosphere make for a cozy tune, and “Sick And Tired” keeps that theme intact with a sort of pre-grunge rocker where vocal acrobatics and proficient guitars highlight the affair.

The middle of the record is equally great, with the swift, propulsive rock of “Donnie Wiggins”, where snotty vocals point towards an early punk influence, the anthemic and roaring “Hot Dog” that recruits a memorable chorus which heightens the impact of the tune, and the dense bass lines of “Get Lost” that segue into a loose and power pop heavy standout.

Deep tracks like the dreamy post-punk of “Puget Sound Lullaby” and the garage rock energy of “Don’t Want You Back” keep the intensity strong and unpredictable, and “Fuck Your Drone” finishes out the album on a dramatic and sprawling meshing of thick rock and thundering percussion that explores all avenues of the ideads that Mythological Horses breed, and even ventures into spacy, prog-moments in its instrumental glory.

A soundtrack for misfits, for the downtrodden who embrace iconoclastic music and bask in the glory of raw, primal energy, YYYMF sounds exactly like the fantastic cover art- fierce yet playful and adorable but willing to attack at any given moment.

Travels well with: The Dead Milkmen- Not Richard, Just Dick; Pixies- Doolittle

Happier Now

Different Times, 2019

8/10

Listen to Happier Now

An indie-rock outfit from New York’s Hudson Valley, Native Harrow are guided by front woman Devin Tuel’s gorgeous vocals, and this 3rd album has the duo recording a studio live effort with charming, immediately memorable results.

“Can’t Go On Like This” gets the listen off to a nostalgic start with all sorts of ‘70s sounds, as Tuel’s smooth and distinct vocals brings us along on a groovy adventure, and “How You Do Things” follows with a soulful and radiant delivery of folky-pop sounds.

Tuel’s got an impressive set of pipes on her, and on songs like the acoustic strummer “Blue Canyon” it’s front and center, while the highly rhythmic “Happier Now” brings the setting closer to R&B with her silky, seductive vocals reaching new heights.

Back half highlights include the warm Americana and hint of gospel of “Something You Have”, where organs really add to the appeal, and the playful, pop influenced “Round And Round” that would even appeal to fans of jazz. The album exits on the thoughtful, folksy “Way To Light”, where Tuel hits some really high notes on a very reflective closer as slide guitar makes a lasting impression.

A classically trained singer, Tuel’s art is flawless here as she delivers songs about growing into one’s own skin and embracing all things that make each person different in their own light. A mature record about maturing as a human, this is a woman with seemingly boundless talent and a knack for timeless songwriting.

Travels well with: Joni Mitchell- Blue; Great Lake Swimmers- Lost Channels

Flight

Pinecastle, 2019

8/10

Listen to Flight

A Cincinnati outfit who are fully versed in traditional bluegrass sounds but are certainly no strangers to gospel and blues, too, the 12 tracks here illustrate the chemistry between the quintet while allowing each member to spotlight their individual talents as well.

“Ride” Starts the album soft and slow before bursting into quick paced banjo and mandolin as Richard Propps lets his rugged yet melodic vocals shine, and “Send My Body Home On A Freight Train” brings Ronnie Stewart’s agile pipes to a textured venture. Elsewhere, “Be Leaving” yields spirited banjo solos, while “Six Days On The Road” has Tim Jackson taking lead vocals on a Boxcar Willie tune gone bluegrass.

The back half of the listen is also impressive, especially with the darker setting of “Lightning Rod”, where a moodier backdrop is met with dynamic interplay between the band, and one of the most known covers here, “A House Of Gold” retains all the warmth and beauty as when Hank performed it. Near the end, “Not Even Dying Can Stop Me Now” recruits some modern day country ideas on one of the album’s best, and “River Don’t Run Dry” ends the listen how it starts, with timeless melody and precise, spirited song craft.

Much like everything on the Pinecastle label, Flyer is not only pleasing audibly, but visually stunning with great artwork and packaging. And though Nightflyer may not be the biggest name in modern bluegrass, with music like this it won’t be long until they are.

Travels well with: Scott Slay- The Rail; Carolina Blue- I Hear Bluegrass Calling Me

Cause & Affection

Self-Released, 2019

9/10

Listen to Cause & Affection

The brainchild of Emma Hoeflinger, A Nashville guitarist and vocalist, since 2013 Oginalli have been making thinking person’s music that walks cautiously over psyche-rock, sludge sounds, and dreamy indie-rock, and Cause & Affection, their debut album, finds the band at a highpoint in their thriving career.

After a soft and dreamy beginning of “No Littering”, the tune builds into a propulsive alt-rocker with nods to grunge as Hoeflinger’s firm and elegant vocals steer the ship, and “Further In/Out” brings more forceful singing to an adventurous track that recruits psyche-rock influences amid muscular riffs that are present in spades. From here the album offers the darker textures of “Eat Your Tall”, and the percussive heavy and spacey “Light As A Feather”, where the atmosphere gets dramatic and illustrates dynamic interplay between the musicians.

Near the end, “Vs.Vs” spreads Oginalii’s wings further with light versus dark elements that shift from thick to sparse, while “Cause & Affection” stays generally soft and introspective with occasional ebbs of roaring fuzz. The quick album exits on a cover of “Moon River”, where Oginalii stay true to the original with graceful vocals and gentle instrumentation on this classic.

A listen that takes nods to both punk rock and desert rock, Oginalli are just as adept at sprawling, ominous landscapes as they are gritty melody, and this incredible first album has the ability to both blow hinges off doors as well as instill introspection in a calming, meditative state.

Travels well with: All Them Witches- Sleeping Through The War ; Dead Meadow- The Nothing They Need

Transmissions From The Electromagnetic Understream

Robot Hoax, 2019

9/10

Listen to Transmissions From The Electromagnetic Understream

The Los Angeles voodoo blues stomping duo return with another batch of noisey sounds where folk, prog-rock and cabaret remnants are run through their unusual filter of punk spirit that rarely sits still and is certainly never predictable.

After the brief, ambient opening of “And The Birds Shall Mark His Passing”, “Death Rattle” gets right into a dirty and swampy version of blues and jazz that’s brash and gritty but somehow still retains melody. Things only get more unusual from there with the cosmic and wandering “Blues Not Bombs”, whereas “Deep Dark Hole” indeed does get dark and experimental with fuzzed out, ominous ebbs.

The middle of the listen offers the more straightforward blues rock of “River”, the almost rap like “Must Resist Sleep”, and the slow burning “Down To The Water”, which illustrates how effective the pair can be at quieter settings, too. .

At 15 tracks there’s much to absorb here, but things are never conventional and often shift in scope, as deeper tracks like the dramatic and percussion heavy “Cut Out To Be Clyde” further cement, while the warm guitar licks of “One Man Hang” and folksy guitar strumming of “Traveler” finish out the record on a high note that take nods to the spirit of Woody Guthrie.

Now a band for over a decade, The Peculiar Pretzelmen play unclassifiable music that often comes from homemade instruments, and most important their vision of art falls well outside any traditional, mundane or generic parameters. If you’re tired of the same old same old, Transmissions Of The Electromagnetic Understream will absolutely enthrall and possibly even inspire.

Travels well with: Tom Waits- Rain Dogs; R.L. Burnside- A Bothered Mind

Crossing The Bridge 2

Heritage Sound, 2019

8/10

Listen to Crossing The Bridge 2

Spearheaded by trumpet extraordinaire Fred Adams, with Crossing The Bridge 2 the Philadelphia Heritage Art Ensemble, who exist to honor and illuminate the work of Philadelphia jazz legends like Lee Morgan and Hank Mobley, bring us 7 tunes with an all star cast of some of Philly’s finest musicians.

“Bossa For Desta” gets the listen off to an elegant start with soft horns, crisp percussion, skittering keys and a breezy jazz feel, and “Soft Touch” follows with much emphasis on piano and even more emphasis on melody. Elsewhere, “Three Way Split” is swift and full of frisky percussion, while “The Interlude” strips the setting back to gentle and quiet with a very spiritual approach.

Near the end, “Dance Of Six Sense” highlights Fred Adams’ trumpet skills on a highly festive and daring tune, and “Work Out” takes a similar approach with an uptempo offering containing brass acrobatics and an impressive drum solo. The album closes on the sophisticated and rich “The Trumpet Song”, where a soulful and restrained delivery complements the extremely accomplished album.

With a good mix of Fred Adams originals and reworkings of Morgan and Mobley’s songs, the dynamic hard bop sounds of the 6 members and contributors on synth impresses with both balladry and busy efforts, where sublime solos are sprinkled throughout as well as nods to the earlier days of jazz.

Travels well with: Kendrick Scott Oracle- A Wall Becomes A Bridge; Bob Margolin- Bob Margolin

Sprig

Self-Released, 2019

8/10

Listen to Sprig

A Seattle duo comprised of Nicole and Alex, though the pair don’t use much in the way of instruments (an Emagic ES2 synthesizer handles much of that), Sprig is an electronic chamber pop listen that leaves a lasting impression.

“Desire” leads off to a dreamy, retro feel with plenty ambient synth and soft female vocals that sounds like it could have soundtracked a Prom in 1985, and “Starts” extends that dreaminess into a fuller atmosphere with a pop-flavored affair dripping in sweet melodica. “Wedding Bells” then takes a turn into dance-pop territory, albeit from a quirky, almost funky New Wave angle with fluid, cautious movements.

The 2nd half of the EP has the two spreading their wings into the soothing and breathy ideas of “Hold You”, that’s as soulful as it is calming, and the warbling, buzzing of “Streetlights”, where a tense setting carries a cinematic flair and pushes and pulls with light and dark textures. The listen ends on “Free”, a lullaby-esque closer with warm, intimate sounds supported by soaring vocals and an anthemic quality.

A very humble and genuine listen where Nicole’s pipes are nothing short of addictive and the music nostalgic, frisky and inventive, Sprig brings a rawness and unpolished aspect to a genre that is often overly produced on this charming, authentic and stylish endeavor.

Travels well with: BRAIDS- Deep In The Iris; Passion Pit- Kindred

Pseudomyopia

MPress, 2019

8/10

Listen to Pseudomyopia

Last year, the always impressive songstress Rachael Sage released Myopia, and here she reinvents 11 tunes from that album with her acoustic guitar and strong vocal work as several guest musicians help illuminate the thoughtful and poetic tracks.

“Alive” gets the listen off to an elegant start with cellos matching her expressive vocals, and “Daylight” follows a similar path with vivid, creative storytelling. Sage offers her version of Howard Jones’ “No One Is To Blame” here as well, with perhaps the most elegant version of this song to date, and the playful pop influenced “Olivia” pairs nicely with the ‘80s classic.

The second half has Sage getting very literate on the orchestral “Tomorrow” while “This Darkness” moves another direction with subtle nods to country. Elsewhere the listen gets darker with the introspective “Myopia” and the moody yet clever “Maybe She’ll Have Cats”, as the jumpy keys of “Sistersong” close out the listen on a high note that’s fun and frisky.

Although this is being billed as a companion record to the plugged in Myopia, one need not hear both to appreciate the timeless nature of the instrumentation and the insightful and thoughtfulness in the lyrics present here. Already a dozen or so albums deep in a 20+ year career, Sage is a singer-songwriter whose name deserves to be spoken in the same sentence as Ani DiFranco, Tori Amos or Sarah McLachlan and Pseudomyopia is another quality installment of her boundless art.

Travels well with: Joan Osborne- Righteous Love; Sara Bareilles- Careful Confessions

Recreational Magic

Self-Released, 2019

8/10

Listen to Recreational Magic

Racket Man are a young Cleveland outfit who make indie-pop of the atypical kind, and Recreational Magic, their 3rd EP, brings us 5 tunes that skips across all sorts of genres for a nostalgic, charming listen.

“burt stevens” starts the quick affair with nods to ‘80s New Wave and plenty of tuneful pop influences, and the bright synth of the soulful “independence” follows. “scaredformore” then brings a sophisticated and retro element to the EP, where smooth vocals and summery melodies easily make this the highlight.

The last two songs keep the unclassifiable formula consistent with the ambient throwback “d.e.r.p.” which sounds like it could soundtrack prom in a much earlier decade, while “a bit more obscure”recruits a drum machine and warm guitar playing for a spirited exit.

Residing somewhere between bedroom pop, ‘80s pop, surf rock and even adult soft-rock, though these tunes might not be upbeat lyrically, musically Racket Man can’t help but make you grin with their quirky, dreamy, hooky approach.

Travels well with: Beach House- Bloom; Alvvays- Alvvays

Therapy

Bear Machine, 2019

8/10

Listen to Therapy

The moniker of Ben Cooper, who is also half of Electric President, as Radical Face he’s already explored acoustic folk sounds, but Therapy changes direction into pop influenced territory, but certainly not of the garden variety kind.

“Doubt” starts soft and hypnotic before bursting into melodic indie-pop with dreamy vocals from Cooper, and “Hard Of Hearing” follows with a bright synth fueled affair that’s beautifully textured. At the halfway point the mood becomes calmer with the light keys, breathy vocals and ethereal backdrop of “Personal Giants”, while “Guilt” is a percussion heavy indie-rock stunner that’s both hypnotic and mesmerizing.

Near the end, “Better Days” gets sparse with an orchestral backdrop, not unlike the early days of Bright Eyes, and “Dead Ends” exits the EP on a cinematic and introspective note, utilizing acoustic guitar and keys to complement each other.

Though Cooper now resides in Los Angeles, he’s spent most of his life in Florida before an intense legal situation with his family brought him west, and, subsequently, into therapy. An EP that revolves around self-reflection and sorting through the pieces of devastation, while Cooper often shimmers in radiant landscapes, in the end it’s all cathartic, and further proof of tragedy being the impetus for great art.

Travels well with: The Postal Service- Give Up; Iron & Wine- Ghost On Ghost

Shake It And Break It

Yellow Thing, 2019

8/10

Listen to Shake It And Break It

The always impressive Randy Kaplan returns with a humorous album that’s set to pre-WW II times where country, blues and ragtime sounds surround very colorful storytelling for kids, as well as the kid in all of us.

“Candy Man Blues” starts out the album deep in Delta Blues with intricate finger picking against Kaplan’s husky vocals that tell a ‘sweet’ story, and the title track follows with bright harmonica and soft 6 string work as Kaplan pulls off quick paced singing about donuts.

Elsewhere, “Boogie Chillen” showcases the true scope of his inimitable vocals from a soulful angle, and “Doing A Stretch” finds him closer to folk-rock territory where Kaplan offers some much appropriate advice for loosening up.

The back half of the listen brings us the swampy blues of “Roll And Tumble Blues”, the playful self-dueting of “From Four Until Late”, and the quirky, memorable “Crow Jane”. Kaplan finishes the charming record with “Little Brown Jug”, a cute folksy tune where he gets help from kids as his rapid fire poetic delivery is clever and often funny.

Kaplan pays homage to some of his favorite songwriters here, and makes all the versions his own with his distinct delivery and unique vision. Truly a listen for the entire family, while the characters in the tunes will keep the young ears interested, the wit and musicianship will certainly have the parents smiling widely.

Travels well with: Secret Agent 23 Skidoo- The Perfect Quirk; Recess Monkey- Wired

Victim & Villain

Nouveau Electric, 2019

9/10

Listen to Victim & Villain

The Louisiana sibling fronted outfit return with their 3rd album of deeply intimate songs where a rich folk and country template sees bluegrass and cajun flavoring with splendid, calculated precision.

“Colorado” starts the album with warm, robust vocals and acoustic guitar before pedal steel and light percussion sweep in on the sweet Americana tune, and “Lips Like Wine” follows with a thoughtful, moving country spirit. Further down the line “Darkroom” flows with banjo in an upbeat setting of danceable roots rock while “One Good Day” recruits strings and and folk influences on one of the album’s best tracks.

The deeper cuts are just as sublime, as “Rye Whiskey” offers us a fuller experience with strings, banjos and crisp percussion, and “Goodbye Jane” is adventurous enough to bring horns into the equation with a punchy pop spirit. “The House I Hate” exits the album sparse and gorgeous, with cautious introspection and a timeless appeal that the entire listen is drenched in.

A band spearheaded by brothers Daniel and Jesse Reaux, The Rayo Brothers continue their sophisticated formula where all songs contain much substance, as lyrically they surround self-realization and personal growth and the raw, often bare and touching delivery suits the reflective environment perfectly.

Travels well with: Dawes- North Hills; Crooked Still- Still Crooked

Kindred

One Melody, 2019

8/10

Listen to Kindred

Renee Stahl has already released quite a bit of music as a solo artist as well as Renee & Jeremy, with her longtime collaborator Jeremy Toback, and here Toback is on hand as are Stahl’s daughters plus a handful of names we’re all familiar with that shine here in a very cozy setting.

“Kindness Is Cool” starts the album with hand clapping, soft guitars and even softer dual gender vocals, before building into a fuller, sophisticated indie-folk charmer, and “Super Fragile World” follows with Amelia Dektor’s youthful and breathy vocals (she’s just 12 years old) that complement the Americana and pop influenced tune.

An album that is not short on cameos, Ziggy Marley lends his vocals on the reserved yet playful “Where Do The Children Play”, while “Leaders Of The World” recruits Addi Rose, Amelia Dektor, Secret Agent 23 Skidoo, and Cold Spring School Chorus on a busy chamber pop meets indie-rock gem where rapping meets a small army of backing vocals.

The back half of the listen enlists some serious talent with Lisa Loeb and Elizabeth Mitchell on “High Hopes”, which is heavy on harmony as well as creative storytelling, while “Be Curious” lets Jennifer Paskow’s warm and pretty vocals illuminate a folksy, upbeat offering. Though there isn’t a dull track to be found here as all are filled with precise, comfortable instrumentation and gorgeous singing, “Kindred” stands out with its timeless melody and strong vocals from Tom Rossi.

An easy going and inspirational folk-pop listen for all ages, even though a couple of these tunes are covers, Stahl and friends make them their own in an intimate, graceful and classic fashion that’s irresistible from the first listen.

Travels well with: Rachael Sage- Myopia; Kate Bush- Aerial

Crossing Borders

Zoho, 2019

8/10

Listen to Crossing Borders

A very accomplished listen that brings both classical and jazz ideas to a very sophisticated formula, Richie Beirach handles piano while Gregor Huebner holds down violin as Rich Derosa acts as conductor/arrangers on several tracks. With Germany’s WDR Big Band helping round out the ensemble, Crossing Borders breaks new ground on this innovative and timeless gathering.

“Rectillinear Paradox” starts out the album with precise, flowing interplay between the artists, and this medley sets the pace for the entire listen. Further on, “Piano Concerto No. 3 “The Code”” showcases Beirach’s brilliant piano work, while Huebner takes center stage with his art on “Violin Concerto No. 3”. The album highlight, though, is the big band masterpiece “Soul Leopard”, where strings, horns and beautiful texturing between the many instruments results in a frisky, restrained and just so meticulously composed gem.

A listen that celebrates the multi-decade partnership of Beirach and Huebner, though the LP was recorded live it rarely seems like it as the musicianship is flawlessly delivered and the sound pristine. Anyone with an ear for jazz, classical and big band sounds will benefit greatly from spending time with Crossing Borders.

Travels well with: Marshall Allan Gilkes- Lost Words; Ron Carter- Jazz & Bossa

Soulshaker

VizzTone, 2019

8/10

Listen to Soulshaker

Rick Vito has a lengthy and luminous career that includes playing on albums or live with Bonnie Raitt, Bob Seger, Dolly Parton and Roy Orbison to name a few, and he’s even racked up multiple Grammy nominations, too. Soulshaker, his 10th album, has the legend continuing his blues spirited work and slide guitar acrobatics that reinforces why he’s considered one of the best at what he does.

“She’s Just Too Fine” gets off to an ultra-soulful and bluesy start with Vito’s smooth vocals supporting the rich guitars, and “I’ve Got A Secret” follows with a calmer tone as Vito moves into a breathy, seductive environment. Elsewhere, “I Do Believe” brings us a swift pace with warm textures while “World On Fire” recruits the blues in spades on a highly melodic affair.

The middle of the album gets soft and organ friendly on “Doggin’ Around”, before going the other way on the upbeat, playful and danceable “Dancin’ Little Sister”. Though the guitar is certainly the main attraction here, “The Ball And Chain” puts focus on percussion with a moody track that even takes nods to funk.

Deep cuts like the mysterious, instrumental “Soul Shadows” and the laid back groove friendly “Promise Land” keep us hanging on every tune, and Vito exits on “A Change Is Gonna Come” which is a calm, agile vocal-less exit of sublime beauty that puts a fine spin on a Sam Cooke original.

Though Vito is probably best known as Lindsey Buckingham’s replacement in Fleetwood Mac for several years, with fine solo work like Soulshaker, he absolutely deserves any and all praise for his unparalleled guitar work, strong vocal prowess and creative song craft.

Travels well with: Peter Green- Little Dreamer; The Mick Fleetwood Blues Band Featuring Rick Vito- Blue Again!

Amateur Revolution

Self-Released, 2019

9/10

Listen to Amateur Revolution

RJ Chesney’s 3rd album brings in a small army of musicians handling pedal steel, accordions, organs, horns, harps and vocals on this country, folk, and rock influenced album that was recorded in both California and Norway.

“Splendors Of This Earth” starts out with an eccentric mix of garage rock meets country western ideas that are raw and melodic with pretty female backing vocals, and “Pull Down The Moon” follows with rowdy keys and a firm folk-rock spirit, the kind that infiltrates the more subdued “A Place Just For Me”.

The middle of the album offers the roots rocker “Amateur Revolution”, the ballad “Do You Remember Me?”, which tugs on the heartstrings with aching pedal steel, and the warm, retro feelings of “No Reason Left To Stay”.

The deeper tracks impress, too, and include the darker blues of “Death, An Old Widows Peek”, the country shuffling and lively rhythm of “Baby, You’re Not Dead”, and “Rise Up And Sing” finishes the listen on soft horns, collaborative singing and a delightfully upbeat and radiant exit.

Though he now lives in Los Angeles, Chesney spent much time in the deep south, and these tunes often reflect that with traditional ideas run through his creative filter. Though you may not have heard Chesney’s name before, after listening to Amateur Revolution it’s likely you won’t be able to forget it as Chesney and company embrace the time honored institutions of folk and country with some modern day playfulness that’s impossible not to admire.

Travels well with: Pete Seeger- Rainbow Race; John Prine- The Tree Of Forgiveness

What If This Is All There Is

Goosepie, 2019

9/10

Listen to What If This Is All There Is

An Ohio songstress who may have gotten a late start as far as focusing on her songwriting, RJ Cowdery takes much experience along with her on this very thoughtful and pensive listen that touches deeply on the human experience.

“Somewhere A Place” starts the album with cautious and thoughtful singing amid calm, soothing music, and “What If This Is All There Is” finds itself somewhere between country and folk with melodic acoustic strumming. While the listen is full of lush moments, there’s also bare tracks like “Secrets Of My Dreams”, where Cowdery’s vocals take center stage, while “Don’t Give Up” injects pop ideas into the calming tune.

Later on, “Shotgun Rider” recruits banjos and mandolins into a bluesy, rhythmic highlight, and pairs well with the breathy Josh Ritter cover “Girl In The War”. One of the highlights, “Get Out Of Here”, would sit well on a ‘70s folk album and the record ends with “Lost And Found”, a playful moment of stripped back beauty that puts the exclamation point on a very pensive and universally embraceable affair.

A highly reflective album that tip toes around country, Americana and folk sounds, Cowdery’s got a knack for delicate song craft and delivers with gorgeous intimacy that warrants repeated listens.

Travels well with: Patty Griffin- American Kid; Rodney Crowell- Tarpaper Sky

Sparrow & Swan

Teardrop, 2019

8/10

Listen to Sparrow & Swan

The Australian singer-songwriter returns with a sophomore album of gentle melodies and universal appeal as his band help shape his poetic songs that are rooted in reflection from a very literate angle.

The elegant listen starts with the title track, where calm keys, warm guitars and Snarski’s graceful vocals set the mood for the sophisticated affair, and “Robert Mitchum at Mitchum Station” follows with a lush and cozy setting of twinkling beauty.

Elsewhere, Snarski gets familiar with romantic moods on the mysterious “All God’s Creatures”, while “Chasing Van” offers us a playful and soft rock gem of timelessness that was so endemic to the genre in the ‘80s.

The back half continues Snarski’s gorgeous ideas with the acoustic “Equine Dreaming”, the moody and emotive “That Whole Summer Long”, and album closer “Have You Ever Been To Helsinki?” recruits backing female vocals to illuminate the dreamy quality of one of the best tracks present.

Snarski has a long history of playing esteemed music with Chad’s Tree and The Blackeyed Susans, and here he takes his lifetime of experience and parlays it into a very distinguished experience with vivid storytelling backed by pretty female voices and a dynamic, efficient band.

Travels well with: Paul Kelly- Nature, Joe Jackson- The Duke

Lucky Lucky Deluxe

Socan, 2019

9/10

Listen to Lucky Lucky

The quickly rising Canadian outfit Safe As Houses see the deluxe treatment here of their well received 2018 album Lucky Lucky. A quintet who make full use of violins and cellos amid their expansive folk, Americana and pop influenced sounds, we are also treated to 2 new tracks on this version.

“Those Days” starts out with lush chamber pop that’s as graceful as it is adventurous, and “Alive” follows with a sparse spirit where strings and acoustic strumming make it a subdued highlight. A really consistently strong album, “Lucky Lucky” showcases their multifaceted roots rock appeal, while “Bird On Display” is one the quietest moments, where multiple voices converge on the bare beauty.

The remainder of the album is quite exceptional with the vocal melodies and orchestral ebbs of “Threnody”, the more percussive rhythm of “Ghost”, and the breezy melody of “Kid In A Castle”. The 2 new tracks here end the album, and are both acoustic. “Lucky Lucky” appears again stripped back and somehow resonates even better than it did previously on the listen, and “Heat In Our Lungs” offers banjo plucking on a raw, tense and exploratory finish.

Sometimes haunting, other times cinematic, there’s never a moment here that isn’t harmonic, melodic and sometimes soul stirring in a way that all our favorite records can be. if you have any inclination towards the softer side of indie-rock or even folk music of the ‘60s and ‘70s, you won’t be disappointed here.

Travels well with: The Decemberists- The King Is Dead; The Lumineers- The Lumineers

Thina

Mello, 2019

8/10

Listen to Thina

A band whose members bring influences from their heritage of Germany, South Africa, and Swazi, Seba Kaapstad birth a neo-soul sound with jazz, African ideas and electronic stabs to a very sophisticated and cultured affair.

“Thina” starts the album soft and soulful with many voices against keys and crisp percussion, and “Africa” follows with a firm beat that invades electro-pop meets neo-soul playfulness, as does the brief and more experimental “Billionaire”. An album where each track brings a wealth of talent, “Don’t” is especially luminous with rapping, strings and elegant keys while “Heckman” moves with a very modern feel amid classical nods and layered vocals.

The remainder of the album offers pleasant surprises in the dance floor friendly and blurry “Playground”, the lush and spiritual “Breathe”, and the ultra stylish instrumental “Love!”, where the percussion is truly unique. The album ends with “Bye”, a quirky pop tune with world music influences that few, if anyone, could replicate.

A very cohesive listen that patches together a wealth of influences, Seba Kaapstad are essentially paving a new subgenre where groove and rhythm unravel in unpredictable and flourishing ways that surround world harmony that you won’t soon forget.

Travels well with: Flying Lotus- Los Angeles; Floetry- Floetic

Little Havana

Zoho, 2019

8/10

Listen to Little Havana

Although bassist and professor Tim Smith, the driving force behind Senor Groove, has been making music for over 3 decades, this new outfit began in 2014 as Smith has assembled an all star cast of south Florida musicians. Named after a culturally significant neighborhood in Miami that Smith has been enamored with since his 20’s, Little Havana features 7 tunes and brings in some heavy hitters for guests.

“3.5 x 2” starts the affair with upbeat saxophones and a lively rhythm sections that helps deliver a groove filled atmosphere in 7/4 time, and “Drume Negrita”, a traditional Cuban lullaby, follows with a lush setting where violins, cellos and vocals from Roxana Amed provide a sweeping elegance.

Elsewhere, the title track is 7 minutes of flutes, bass clarinet and saxophones where the interplay yields a calming yet lively environment, while “Linville Falls”, one of the best of the bunch, brings trumpets and organs on a for a swift, festive tune that could soundtrack a street party. “Second Time Around” near the end, extends the fun on one of the most eclectic tracks, where synth and an EWI help flesh out the quirky, nearly cinematic and spacey offering.

Though vocals are used sparingly here, there’s so many players on hand to fill out the songs that they never feel thin. On the contrary, it’s a very full effort of Latin Jazz ideas that shift and sway with spontaneous energy where Grammy winners Ed Calle and Brian Lynch help cultivate a very spirited and worldly endeavor.

Travels wells with: Chucho Valdez- New Conceptions; Arturo O’Farrill- Risa Negra

Lilac Skies

Acoustic Shine, 2019

8/10

Listen to Lilac Skies

Shambhu (pronounced SHOHM-Boo) returns with his 4th album of six string prowess, as he brings plenty of varied influences to his calming, meditative formula.

“Lilac Skies” starts the listen out with light jazz sounds where crisp guitars and winding grooves fill the atmosphere, and “Unspoken Words” follows with precise picking on a dreamy, contemplative affair.

Although guitars are certainly the main focus here, songs like “Dochas” recruit flutes and percussion for a lush moment, while “Blue Whispers” pushes and pulls with beautiful tension.

Back half highlights include the intricate keys of the flowing “Open Your Heart Sky”, the rich guitar lines of “Basis Of it All”, and the 7+ minutes of “Inspired By The Night”, which fuses countless ideas into one colossal, complicated, engaging exit.

Entirely instrumental (vocals are occasionally used in a blurry fashion), the ensemble recruit jam band and Brazilian ideas into this very spirited New Age record where blues, jazz and rock enter the very mature and flourishing effort.

Travels well with: Paul Winter- Earthbeat; William Ackerman- Past Light

Past, Present, Future

Mute, 2019

8/10

Listen to Past Present Future

Australia’s Simon Bonney has a long history in music, starting most notably with his 1977 post-punk outfit Crime & The City Solution. These days, though, he’s a more tame version of himself, as Past, Present, Future collects tunes from 1992’s Forever and 1994’s Everyman, where Bonney injected folk and Americana into his punk roots, and he even tosses in 6 unreleased tracks for us here.

“Ravenswood” starts the album deep into Americana sounds with Bonney’s deep vocals and strummed acoustic guitar, and “Don’t Walk Away From Love” transitions into more rugged variations of folk-rock with a memorable hook. Elsewhere, the setting gets darker and mysterious with “There Can Only Be One”, while “Where Trouble Is Easier To Find” finds Bonner at a more lush and expansive place with cautious instrumentation.

Back half highlights include the stark and banjo friendly “Everyman”, the vocally expressive, melancholic and eloquent “Duchess”, and the emotive and powerful “Forever”. Near the end, “Eyes Of Blue” builds into a cathartic tune with progressive guitar work and “Can’t Believe Anymore” finishes out the listen soft and sweet with the orchestral strings and thoughtful song craft that ends noisey, abrasive and ebullient.

The new tunes present were meant for a shelved album from the late ‘90s, and much like all of Bonney’s solo work it unfolds with brooding beauty, where country, blues and gothic sounds get twangy, reverb drenched and often haunting with a very authentic, humble delivery. A truly exceptional songwriter, let’s hope this album is the impetus for new work on the horizon from Bonney.

Travels well with: Nick Drake- Pink Moon; The Birthday Party- Prayers On Fire

Swimming Lessons

Easy Star/Mr. Bongo, 2019

9/10

Listen to Swimming Lessons

The UK multifaceted punks return, and this time The Skints bring some special guests on board to flesh out their upbeat and bright song craft that often surrounds political and social issues.

‘Learning To Swim” starts the listen with ultra-melodic reggae and pretty female vocals from Marcia Richards before the dense fuzz abruptly enters, giving the tune an alt-rock angle, and “Restless”, with Protoje, follows and brings their reggae ideas into pop fun territory. Elsewhere, the band get unclassifiable with the electronica and quirky, tropical feeling of “Gets On Top”, while “New Kind Of Friend” recruits an island flavor with flowing melody.

Near the middle, “What Did I Learn Today?” puts us somewhere between punk and ska, and “Oh My Love” pushes the band into a romantic atmosphere. “The Island”, one of the best tracks, resides here and elicits a charged and turbulent setting which brings us back to the early ‘90s punk scene.

The end of the album is equally strong, as “Armageddon”, featuring Runkus, offers hip-hop influences, and the vocal layering of “La La La” continues this theme. The album exits on “Stop Looking Back”, where soulful vocals meet an adventurous R&B conclusion to a stunning, eclectic 4th album.

A band that are carrying on the grand tradition of thriving music from London, fans of the abrasive sounds of Bad Brains as well as the universal approach of No Doubt or the timelessness of The Specials should get on board immediately with the sensational body of work The Skints are producing.

Travels well with: Gentleman’s Dub Club- Lost In Space; The Aggrolites- Reggae Now!

Dreams And Circumstances

Organic, 2019

8/10

Listen to Dreams And Circumstances

An instrumental duo consisting of Adam Roszkiewicz and Leif Karlstrom, who are also members of Front Country, as Small Town Therapy the pair bring classical ideas into acoustic jazz ideas with much emphasis on violin, mandolin and guitar.

“Three Legged Cat” gets the affair started off with violin and mandolin acrobatics on a winding, twisting, melodic opening, and “Circumstances” follows with a tender setting where violin from Lyndsay Pruett really adds to the climate. Elsewhere, the soul stirring “Tune For Eli” recruits octave mandolin from Eli West with great results to the sophisticated formula.

Further along, “33” brings in a haunting, cinematic quality to a thoughtful back half highlight, and “The Square And Compass” yields much beauty to just a couple instruments in a bare setting. Near the end, “Throughout” offers string manipulation on a sparse plucker, and “Hotel Kilauea” ends the record with prepared bass from Ethan Jodziewicz and violin from John Mailander on a blurry, hazy, exploratory finish of avant-garde characteristics.

A listen that makes the most out of spontaneity, there’s a large amount of melody to be found here as the record manipulates mood with skilled acoustic fusion that rarely sits still for long and shifts with unpredictable, fascinating interplay between the massive talent.

Travels well with: Montreux- Let Them Say; Mike Marshall- Gator Strut

Safety

Self-Released, 2019

9/10

Listen to Safety

Sotto Voce is Ryan Gabos, a Pittsburgh native now residing in Brooklyn who’s got an affinity for highly experimental bedroom pop where he takes on all vocal duties as well as instruments, essentially becoming a one man band of the most unusual kind. On Safety, his 9th album, Gabos finds himself knee deep in pop, but certainly not the garden variety type that litters the FM dial.

“Let’s Not Tempt The) Supervolcano” gets things off to a lo-fi and jangly start with punchy melodies and a brisk pace, before “Utah’s Dime” trims the volume down with falsetto vocals and a subtle jazz feel. “Sexy May 1” gifts us breezy, quirky bedroom pop sensibilities, and “Judy Greer” continues the tuneful landscape with plenty of indie-rock melodica and avant-garde ideas. Elsewhere, “Bedding From Afar” wanders into a more soulful aspect of Gabos’ creativity with impressive results.

Second half highlights include the acoustic and restrained approach of “Rhonda On Blow”, the lullaby-esque bell sounds of “Fluff Piece” that build into an instrumental electro-pop stunner, and the swift, stylish ‘90s indie-rock spirited “A Quick One (While She’s In A Bad Way)”. The album ends on the title track, where playful cautiousness makes the exit a charming and addictive exclamation point on a daring record.

A listen with boundless energy and innovative songwriting techniques, it’s quite likely you haven’t heard anything quite like Safety lately, if ever, and it’s even more likely you’ll have a very hard time forgetting the artistic manipulation of pop that is Sotto Voce.

Travels well with: The Microphones- Mount Eerie; Yo La Tengo- Painful

When An Electric Storm

Educational, 2019

8/10

Listen to When An Electric Storm

Abby Travis and Gene Trautmann, the core of Sumo Princess. have an impressive resume that includes working with Queens Of The Stone Age, Beck, The Go-Go’s plus others, and here they take their vast experience and skill and make some beautiful, unique racket.

“Kill The King” starts out with thick guitars, plenty of fuzz and vocals from Abby Travis that are both rugged and melodic, and “Crooked Plough” follows with anthemic thundering that breaks for vocal harmonies on occasion. Elsewhere, “New Goth” recruits an experimental and post-punk flair for a very adventurous journey, while “Kall Ma” offers manipulated vocals and stoner rock tendencies.

Deeper cuts like “You Will Rise” bring rhythm, melody and power to the equation, and are complemented by the sturdy garage rock of “Angel Dust”, where ebbs of calm keep the tune mysterious. The album ends on “Click Bait”, where the 3 octave range of Travis gives it an operatic feel with plenty of muscle behind the rhythm.

Even though this is the debut of Sumo Princess, these industry veterans piece together a solid effort of blistering density, pop melodica and a charming quirkiness that will leave you instantly intrigued with their unclassifiable and unpredictable formula.

Travels well with: Silversun Pickups- Swoon; Dead Meadow- The Nothing They Need

Resiliencia

Self-Released, 2019

8/10

Listen to Resiliencia

A musician, poet, filmmaker and activist from New York, Taina Asili has always made art with much substance, and with Resiliencia she takes parts of her punk rock past and meshes it with Afro-latin ideas as well as cumbia, ska and reggae nods while tackling plenty of political and social issues.

“Resiliencia” starts the eclectic listen with rich, expressive vocals before loud guitars and bright horns are brought in, and “Decir Que No” follows with plenty of rhythm on a salsa fusion interpretation of a poem. Elsewhere, hazy ska is present on the cultured “Even if”, while “Gave It All My Love” gets soulful, sensual and extremely graceful.

Asili brings on some guests here, as DJ Johnny Juice (Public Enemy) lends his scratching talents to the spirited “La Alegria”, which could soundtrack a street festival, and later on Veena Chandra offers her inimitable sitar playing on the sophisticated and melodic “Beyond The Stars”. Other late disc highlights include the anthemic “Who I Am”, and the feminist approach of the insightful and inspiring “Beauty Manifested”.

Though Asili was born in America, her family is originally from Puerto Rico, and her work is very much influenced by that heritage. That, combined with her strong convictions and involvement in the ‘90s punk scene make Resiliencia an album that is globally embraceable and full of textured beauty and raw power.

Travels well with: Ozomatli- Embrace The Chaos; Anti-Product- Another Day Another War

The Gumption

Record Kicks, 2019

8/10

Listen to The Gumption

A Canadian songstress who has the honor of being Juno Award and Polaris nominated already, first and foremost Tanika Charles is an artist with a voice you won’t soon forget, and The Gumption puts her skills on full display across modern soul on this sophomore album.

“Tell Me Something” gets the listen started strong with sturdy, soulful vocals from Charles, as warm guitars and a calm backdrop add to the appeal, and “Going Home” follows with a swift blues setting where the smooth, soaring vocals shine bright. Further along, “Love Overdue” brings us right back to the ‘70s with plenty of vocal harmonies and an impressive range from Charles, while “Cool Scorpio” recruits a playful atmosphere with subtle horns.

The remainder of the album is, thankfully, more of the same with the lush, dance friendly “Upside Down”, the firm percussion of “First & Last”, and the melancholic balladry of “Look At Us Now”. Near the end Charles takes nods at earlier decades with the funky rhythm of “Since You Been Gone”, and the dreamy and bare “Always Restless”.

An extremely accomplished record that draws heavily from R&B and Motown, the formula that Charles is working with is powerful both musically and lyrically. I have to assume by the top notch song craft here that she’s a household name in her own country, and it’s likely she will be in The States, too, with this kind of effort.

Travels well with: Sharon Jones & The Dap Kings- 100 Days, 100 Nights; Alabama Shakes- Boys & Girls

Tex

Self-Released, 2019

8/10

Listen to Tex

A Texas songwriter who has already turned many heads since his first album in 2017, here Terry Klein expands on his songwriting prowess with poetic, humble and genuine variations of folk and Americana.

“Sagamore Bridge” starts out warm and authentic with Klein’s mix of singing/talking as the music unfolds with guitars and fiddles, and “Oklahoma” follows with a darker mood, gentle backing female vocals and a country spirit. Elsewhere, “Every Other Sunday” illustrates Klein’s strong, wise pipes well on a sparse tune, while “Anika” flows beautifully with an indie-folk formula that’s punctuated with backing vocals and light keys.

The back half of the listen offers us the bright old time piano ragtime of “Straw Hat”, where Klein manipulates his voice to suit the nostalgic feel, though the pace returns to bare and soulful with “Daddy’s Store”. Near the end, “When The Ocotillo Bloom” recruits accordions on a playful venture with vivid storytelling and Tex-Mex nods, and “Steady Rain” ends the affair with a stylish spoken word offering that’s intricate, mysterious and blues friendly.

A very literate sophomore effort from Klein, this listen runs the gamut of emotions from humorous to heartbreak and is filled with intensity and also a light hearted nature while maintaining a timelessness that will appeal to fans of Springsteen, Earle and Williams.

Travels well with: James McMurtry- Just Us Kids; Chad Richard- Worthy Cause

Forever Overhead

Arts & Crafts, 2019

8/10

Listen to Forever Overhead

The frontman of Canada’s Hey Rosetta!, who are now on indefinite hiatus, it only seems fitting that Tim Baker drops his debut solo album now. A listen that often brings us back to the ‘70s, Baker’s armed with plenty of balladry and soulful rock moments on this stunning, reflective outing.

“Dance” starts the album off with sparse piano balladry, where the intimate setting allows Baker’s warm voice to shine, and “All Hands” follows with soulful indie-rock where backing vocals add to the graceful, groovy effort. Elsewhere, “Hideaway” offers us acoustic strumming, vocal harmonies and subtle horns, while “Spirit” is sublime, pretty, folk inspired songwriting with a Celtic slant.

The 2nd half is equally stunning, where pianos dominate the elegance of “Two Mirrors”, and “Our Team” takes a similar path but with a punchier delivery that builds into a chamber pop masterpiece. “Don’t Let Me Go Yet” ends the record with lush, rhythmic ideas that push and pull with melancholy as well as radiant optimism.

A very heartfelt effort, it’s primarily a bare effort, whereas in Hey Rosetta! the 7 members gave Baker plenty of company, and he holds down the show swimmingly with thoughtfulness, eloquence and a timelessness that is generally reserved for legends like Jackson Browne or Van Morrison.

Travels well with: Yukon Blonde- On Blonde; The Weakerthans- Reunion Tour

Best Of The Worst Kind

Self-Released, 2019

8/10

Listen to Best Of The Worst Kind

An Idaho outfit spearheaded by frontman Tylor Ketchum and his brother Jason Bushman, even though the siblings are several decades younger than the rest of the band, the dynamic interplay between the youngsters and veterans unfolds with sturdy and thriving Americana on this sophomore album.

“Lost & Lonely Miles” gets the album off to a warm and spirited start with vivid storytelling on an a sublime Americana offering, and “Before It’s Too Late” follows with a more rugged approach that’s still buried deep in timeless melody. A listen where every track is the best song present, “Good At Bad News” finds the outfit a bit rowdier with a barnyard rocker and backing female vocals from Jennifer Pisano, while “Storyteller” recruits pedal steel and textured guitars to a mix of singing and talking from Ketchum.

Back half gems include the percussion heavy “Pave Your Way”, which is a fuller example of their rootsy rock, and the aggressive strumming and harmonicas of “Hide Your Goat” leave an indelible impression. Near the end, “Construction” shifts gears into playful folk-rock territory, and “Place Like This” exits the album sparsely with an acoustic guitar and cellos putting the exclamation point on a frisky yet graceful listen.

An instantly memorable record with incredible production, names like Steve Earle, and Johnny Cash come to mind here, and the band’s grasp of classic and outlaw country with rich instrumentation and clever wordplay could easily make Tylor & The Train Robbers the next Americana stars, and rightfully so.

Travels well with: Andrew Sheppard- Steady Your Aim; Drive-By Truckers- Decoration Day

Myths We Tell Our Young

Mountain Home, 2019

8/10

Listen to Myths We Tell Our Young

Though they may still be a relatively new name on the bluegrass scene, North Carolina’s Unspoken Tradition are leaving an indelible mark wherever they go, and this first album on the Mountain Home Music Company label is sure to find them legions of new fans with their passionate, nostalgic and very adept songwriting.

“Nothing But Sky” gets the album off to a swift, ultra-melodic start with smooth, agile vocals complementing the gorgeous interplay between the instruments, and “Land” follows with a warm, spirited affair that’s softer but no less impactful balladry.

Often a quick paced listen, tunes like “Force Of Nature” exhibit incredible banjo picking while the lightning quick stringed acrobatics of “Uncharted Territory” help make this one of the album’s best, though the freewheelin’ mandolin fun of “Cold Mountain Town” is a close second.

Of the more gentle selections, “Dark Side Of The Mountain” offers moody elegance with a rugged yet harmonic delivery and the soaring, sweet “Light Just One Candle” tugs on the heartstrings. The album exits on “The Mountains Win Again”, a tune penned by Blues Traveler, where the band retain the fluid progression of the original with singing that shows impressive range.

Not so surprising, 2 of the tracks here have already climbed to the top of the bluegrass charts, and it wouldn’t surprise me one bit if the album wins some year end awards with its daring, highly proficient and original bluegrass ideas that keep getting better with each release.

Travels well with: Scott Slay- The Rail; Chris Jones & The Night Drivers- The Choosing Road

Forever

Bloodshot, 2019

10/10

Listen to Forever

While there's plenty of great bands coming out of Austin these days, Vandoliers reside a bit further north in Dallas, where frontman Joshua Fleming spent over a year constructing these tunes- some of which were written under the guidance of Rhett Miller (Old 97's).

Like many traits from their home state, Vandoliers bring their best assets in large numbers, including sing-a-long choruses, gritty melodies and an underlying punk rock ethic that comes through via mature, heartfelt songwriting. While opening tune “Miles And Miles” brings fiddles to a rowdy roots rock affair, later on horns and violins populate Tex-Mex rockers like “Fallen Again”. Fleming's got a remarkable set out pipes on him, somewhat like a less raspy Chuck Ragan but a not so snarling Mike Ness, and it works well on anthemic, searing numbers like “Troublemaker” as well as the rugged balladry of “Cigarettes In The Rain”.

Amazingly, Vandoliers will draw comparisons to artists as vast as Calexico, Riverboat Gamblers and even rougher, street punk legends, but make no mistake, this is no copycat outfit. On the contrary, Vandoliers might be the most interesting band in the area of cow-punk I've ever heard and are absolutely the most memorable.

Travels well with: The Gaslight Anthem- The ‘59 Sound; Chris Wollard & Ship Thieves- Canyons

The Odessa Job

Self-Released, 2019

9/10

Listen to The Odessa Job

A Russian inspired 7 piece from Melbourne with a penchant for raw, gritty sounds and who are spearheaded by Polish-Australian actor/singer Jacek Koman, this criminal themed album is not quite as intimidating as the cover art implies, though it certainly has some savage moments.

“I Remember” starts the lively affair with bright horns and a bouncy atmosphere where Koman’s gruff vocals brings a rugged angle, and “Gop Stop” follows with a waltz feeling where accordions and backing vocals recruit plenty of melody.

Even though nothing here is in English, there’s plenty of universal appeal, especially on the festive mood of the busy “Alyosha”, while “The Ballad Of An Emperor” delivers a cinematic quality to a cautious track with much attention to detail.

Often a busy template with trumpets, trombones, mandolins, accordions and the usual suspects in attendance, the band keep the chaos controlled, and tunes like shifting tempos of “Limonchiki (OJ)” and “In The Noisy Dive/Skyscraper” deliver just the right balance between hectic and restrained in a gypsy rocks sort of way. Vulgargrad do occasionally dip into the sparse, though, as lone keys fill much of “Soloman Plyar’s School Of Ballroom Dancing”, which is an ideal closer to an often uproarious listen.

Though it’s nearly impossible to classify, traces of folk, punk, world music, polka and ska populate the feral yet sophisticated sounds found here, and it all makes The Odessa Job an addictive and extremely unique record that warrants repeated listens.

Travels well with: Gogol Bordello- Super Taranta!; The World/Inferno Friendship Society- Just The Best Party

Plaid Is The New Black

Self-Released, 2019

8/10

Listen to Plaid Is The New Black

The music Whitebeard makes on this cleverly titled album is nothing like you may expect based on the cover. A Canadian troubadour with glassy smooth pipes, while an acoustic guitar is certainly in his arsenal, he’s just as versed at classic rock and power pop as he is country sounds.

“Nowhere To Go” gets the album off to a feel good start with flowing melody and strong vocals from Whitebeard, and “Sometimes” follows with punchy, upbeat piano melodica and a cozy, danceable atmosphere. “Bent Out Of Shape” finds the listen settling into more classic country territory, and “Paris” recruits a lush, retro feel with plenty of tunefulness amid a rugged atmosphere.

The back half brings more greatness, including the aptly titled “Tender”, which brings balladry to the equation, and the rowdy “Too Close To The Fire” which reminds me of Elvis Costello in his best period . Near the end, “I’ve Been Young” is a thick rocker and “Another Friday Afternoon” ends the album soft and agile with strong vocal work and calm guitars that are as reflective as they are playful.

Whiteboard has released 2 albums under his real name, Alan Curtis, though this one is likely the most eclectic, having been recorded in both Nashville and Winnipeg and sounding like it, too, with vast influences culled from the 800+ shows performed in his lengthy career.

Whether you prefer folk, rock, country or pop, Plaid Is The New Black has got you covered in spades, and it’s all delivered with warm textures and skilled instrumentation that’s as impressive as it is timeless.

Travels well with: Tom Petty- Full Moon Fever; Elvis Costello & The Imposters- The Delivery Man

Human Question

Bloodshot, 2019

10/10

Listen to Human Question

Colorado possesses much talent these days, but few are as consistently great as The Yawpers, who have already released 4 fantastic albums this decade, including American Man, which was one of the best of 2015. For Human Question, the band took a different route by writing and recording the album in a 2 month period and then recording it live in one room, allowing their organic energy to contribute to the rawness of the listen while using few overdubs.

“Child Of Mercy” starts the album off with a fiery roots and blues rocker that’s covered in a punk spirit that’s evident on the roaring moments while being held together with cautiousness, and “Dancing On My Knees” follows with proto-punk nods that offers plenty of rhythm in a retro package you could dance to.

A listen where no 2 songs sound alike, “Human Question” is a dreamy, soothing affair, indebted to ‘70s rock, while “Man As Ghost” strips back the loudness into warm Americana that parallels the greatness achieved by Ryan Adams. Elsewhere, “Earn Your Heaven” retains a firm garage rock influence, and “Reason To Believe” shifts into robust blues with dynamic interplay between the trio.

Late in the disc, The Yawpers get hushed on the piano ballad turned emotive gospel and soul feeling of “Carry Me”, and “Can’t Wait” offers us sturdy country rock with a vibraphone punctuating the atmosphere. The record ends on “Where The Winters End”, where introspective folk shards illustrates the power the soft side of The Yawpers can yield.

The first perfect record of 2019, Human Question possesses everything we love about Bob Dylan, The Stooges and Led Zeppelin in spades, and rumbles, shakes and simmers with both white hot intensity as well as campfire-esque serenity that you can’t help but want to devour repeatedly.

Travels well with: Sons Of Bill- Oh God Ma’am Vandoliers- Forever

Yes Gabriel

Self-Released, 2019

8/10

Listen to Yes Gabriel

The brainchild of longtime musical theater composer Gaby Alter, who has also done plenty of work in TV and film, as Yes Gabriel Alter handles most of the instruments with Sean McArdle and Alec Berlin (of Green Day’s Broadway musical American idiot) providing some extra guitar muscle.

“Dear To Me” starts out with indie-folk acoustic strumming where bright, expressive vocals immediately draw us in before shuffling percussion enters and the atmosphere builds into lush and expansive.. “Rains Of April” follows and brings keys to the affair while soft horns and electronic sounds turn the track into a multifaceted pop gem.

The remaining tunes are equally impressive as “You Got Through” keeps the setting a bit more sparse with a cello and quiet electric guitar and “Fall Asleep” is adventurous enough to host violins, violas and cellos as Gaby handles keys and vocal duties. “Deep In February” ends the EP with reflective keys and calm vocals, illustrating Alter’s skill with cautious yet playful songwriting.

Though Alter is quite familiar with playing music in large ensembles where plenty of hands are on deck, this outing has him running the show mostly solo, and his chamber-pop, folk-rock and electronica efforts soundtrack the end of a relationship with much creativity and the sort of skill that clearly takes decades to hone. At 5 tracks, Yes Gabriel has us wanting more, and let’s hope this is just the start of this project.

Travels well with: The Postal Service- Give Up; The Shins- Oh, Inverted World