Take Effect

Artificial Fairytales

NNA, 2019

8/10

Listen to Artificial Fairytales

Alice Cohen never does anything ordinary, and Artificial Fairytales, the songwriter, musician and visual artist’s 6th album, is further proof of her iconoclastic vision of pop.

“Keep On Keeping On” gets the album off to a hazy start with a ‘70s soulfulness as spirited, melodic vocals guide us through the retro fun, and “Plastic Paradise” follows with plenty of rhythm and playfulness on the charming, warm rocker.

Further along, “Broken Bubbles” brings a cultured setting of Eastern ideas in an instrumental tune, and “Hourglass” recruits a ‘80s approach with a memorable delivery.

Near the end, “Faces In The Rain” offers a dreamy highlight, and “Ravers At Dawn” moves into psyche-rock territory with spacey exploartion. “Bubblegum Heart” ends the listen with sugary sweet melodica and pretty instrumentation, putting a firm exclamation point on this accomplished record.

Cohen is in great company here with indie luminaries Adrian Knight and David Lackner lending a hand, and together the flutes, saxophones and synth shine bright in unconventional ways. Even though Artificial Fairytales was recorded at home, this is no stripped back, bedroom pop affair, as Cohen’s unique and artistic take on pop makes this another must hear chapter in her long, eclectic career.

Travels well with: The Vels- Velocity; Kristeen Young- The Knife Shift

Down To The River

BMG, 2019

9/10

Listen to Down To The River

An outfit spearheaded by Devon Allman and Duane Betts, this debut album has the pair and their band taking the organic route with no computer or digital editing on this studio live recording of their eclectic rock formula.

“All Night” gets the album started with rich guitar licks on a warm southern rocker with Devon taking lead vocals, and “Shinin’” follows with retro grooves on a classic rock tinted affair with Duane handling the bulk of the singing.

Elsewhere, “Try” recruits a quieter setting of crisp instrumentation in a timeless template of cautious rock, while “Autumn Breeze” indeed gets breezy in ways that are both pensive and playful on this album highlight that enters jam band territory.

Near the end, “Melodies Are Memories” offers a fuller atmosphere of jangly, agile rootsy rock where organs really punctuate the mood, and “Long Gone” ends the listen with a vocally expressive ballad of dusty beauty.

When you’re the offspring of Gregg Allman and Dickey Betts, expectations might be a bit high in your musical endeavors, but The Allman Betts Band exceed anyone’s expectations with their well crafted country, blues and gospel meshing that’s never short on creativity and delivered flawlessly.

Travels well with: Tedeschi Trucks Band- Revelator; The Allman Brothers- Hittin’ The Note

Heisfyr Terminal Ekspress

Apollon, 2019

8/10

Listen to Heisfyr Terminal Ekspress

A one man band from Oslo, on this 3rd album Alwanzatar (Krizla from Norway heroes Tusmorke) utilizes six pieces of synth music with flutes, drum machines and plenty of tape echo for a psyche-filled and dreamy adventure that few could replicate.

“Laserkanondiplomati” gets the listen off to a quirky start with futuristic dance rock that’s cosmic, abrasive and full of sound manipulation and fleeting processed vocals, and “Over Lavadekkede Sletter” follows with an eerie, mysterious setting where vibrant flute and a frenetic pace seems like the tune could soundtrack an action movie on a distant planet.

The back half offers us “Sa Trist Som Du Gior Meg Na”, which is 10 minutes of video game-esque noises alongside soaring flutes, thereby presenting a charming meshing of organic, New Age stylings versus sci-fi meandering, and “Syre Base”, which is cinematic genius as eerie soundscapes are both surreal and exploratory.

“Heros” ends the listen with a hypnotic and melodic approach that recruits folk ideas into the meticulous, synth fueled fun.

Krizla plays all the instruments here and does so with incredible precision and an adventurousness that will resonate with fans of ‘70s prog-rock, as well as those who fancy unconventional and imaginative music.

Travels well with: Sandra Kolstad- Zero Gravity State Of Mind; Panzerpappa- Summarisk Suite

Kiss My Sass

VizzTone, 2019

8/10

Listen to Kiss My Sass

It’s been a good year for Annika Chambers, who already won the 2019 Blues Award for Soul Blues Female Artist Of The Year, and this 3rd studio album further solidifies the Texan as one of the best in the business.

The title track starts the album with spirited guitar work and strong, confident vocals from Chambers in the melodic and timeless tune, and “That’s What You Made Me” follows with a percussive and organ fueled offering with plenty of grooves in the funk filled environment.

Elsewhere, “What’s Your Thing” is a subdued moment that allows the vocals to soar, while the soulful and stripped back “Brand New Day” uses keys strategically in the cautious album highlight.

Near the end, “Stay” recruiits horns in the busy display of power and melody, and “I Feel The Same” exits the record on a duet with Paul DesLauriers that hints at country with plenty of heartfeltness

It’s not so surprising that Chambers is winning awards; the songstress has a set of pipes you won’t forget anytime soon, and shows much versatility on this stunning album.

Travels well with: Heather Newman- Rise From The Flames ; Carolyn Wonderland- Peace Meal

Samba Jazz Alley

AAM, 2019

8/10

Listen to Samba Jazz Alley

A Brazil native who took an interest in bossa nova sounds in the ‘60s, Antonio Adolfo’s formula now includes bebop, soul jazz and even American sounds from the west coast that are on full display in Samba Jazz Alley.

“Ceu E Mar” starts the listen with fluid horns against a flowing rhythm and keys from Adolfo, and “Hello Herbie” follows with an elegant setting that’s highly danceable as spirited horns complement the tribute to Herbie Hancock.

Deeper cuts like “Casa Forte” are upbeat and playful excursions into Samba Jazz fun with vivid harmonies, while “The Frog” recruits an adventurous path of musicianship that spans several decades of influence.

Near the end, “Passerim” illustrates gorgeous and timeless interplay between the many instruments with a glowing sax solo, and “Corcovado” ends the album soft and agile, again illustrating much talent and experience.

A listen rooted deep in Brazilian jazz sounds, Adolfo’s Samba Jazz stylings sound as relevant and exciting as they did in the ‘60s, and he’s in great company with esteemed Brazilian musicians helping to maintain the spirit and strength of the genre.

Travels well with: Sidney Miller- Sidney Miller; Rosa Passos- Me & My Heart

High Roller

Metalville, 2019

8/10

Listen to High Roller

With band member names like Vince van Roth and Dommy Lee, it’s pretty clear that Balls Gone Wild don’t take themselves too seriously, but their furious and hard hitting rock’n’roll is certainly no joke on this sophomore album.

The title track gets the listen off to a savage start of chunky bass work and a thundering setting of bombastic hard rock as thick vocals guide us through the anthemic setting, and “Leave Me Alone” follows with raw energy in the thumping, guitar wailing scorcher.

Elsewhere, “Keep It Hot” brings us guitar riffs that point at the early days of metal, while “Mofo” gets closer to thrash sounds with calculated fury at a wild pace.

Near the end, “Balls Gone Wild” illustrates a fluid rhythm section where a sing-along chorus helps makes this one of the best tracks present, and the intricate “Flying High” reminds us of all the things we love about Judas Priest and Iron Maiden with a classic feel. “The Devil’s Woman” ends the listen soft and agile, where restrained musicianship illustrate another proficient angle from this German trio.

The Metalville label is never in short supply of powerful, timeless artists, and High Roller is yet another release that fans of metal, rock and even punk will find enticing.

Travels well with: AC/DC- Back In Black; Motorhead- Bastards

Before Me

VizzTone, 2019

8/10

Listen to Before Me

The Cincinnati pianist and singer-songwriter Ben Levin brings some heavy hitters in on this sophomore album, as Bob Margolin, Bob Corritone and Philip Paul help bring these soulful and mature tunes to life.

“I Feel So Good” starts the listen with strong rhythm, bluesy guitars and Levin’s youthful yet wise vocals as playful keys guide the way thorough the authentic opener, and “Pappy” follows with a feel good spirit that you can’t help but move your body to.

Elsewhere, “Confessin’ The Blues” further displays Levin’s talent with the piano on an emotive offering, while “Creole Kitchen”, a Levin original, tumbles with hypnotic melody on a vocal-less highlight.

Deep in the record, “Load Off My Back” recruits a hand clapping retro setting with a timeless approach, and “Lightnin’’ picks up the pace into a busy display of massive skill. “Open Late” ends the album with Levin’s keys front and center as soft harmonicas and restrained percussion come together on an adventurous exit.

Though Levin is still a youngster, he plays like a seasoned vet here, drawing parallels to Harry Connick Jr. while putting a fresh coat of paint on some classic tunes and offering some well thought out originals you won’t forget anytime soon, too. Not bad for a guy who’s not even old enough to legally drink, right?

Travels well with: Bob Margolin- Bob Margolin; Bob Corritore & Friends; Do The Hip-Shake Baby!

Acorns

Snake River, 2019

8/10

Listen to Acorns

On the more organic, earthy of the two albums that Winship released on the same day, Acorns brings mandolins, fiddles and banjos to the rural fun.

“A Little Goes A Long Way” starts the album with fiddle acrobatics on a rollicking, bluegrass inspired opening, and “Shakin’ Down The Acorns” follows with warm beauty sans vocals, where dynamic interplay between the strings yields a mountain music setting.

Much like the companion album to Acorns, Toolshed, Winship brings in many contributors, and together the variety offers the folk inspired “I’ll Live On”, the playful picking of “Cherry Tree” and the timeless country approach of the graceful duet “Fit To Be Tied”.

Near the end, “Lily Green” recruits breezy melodies for one of the album’s best, and “Boys Them Buzzards Are Flyin’” ends the album with swift instrumentation that puts the exclamation point on the massive skill present.

The perfect complementary listen to the fuller, band oriented Toolshed album, Winship’s old time, deep roots and jam band nods make this string focused record another impressive effort in his glowing catalog of genuine, timeless songwriting.

Travels well with: Tim O’Brien- The Crossing; Alison Krauss- Forget About It

Toolshed

Self-Released, 2019

8/10

Listen to Toolshed

One of two albums released by the Idaho musician and engineer Ben Winship, Toolshed has the roots artist exploring his creativity with a full band and plenty luminous guests on hand.

The title track gets the album off to a playful start with acoustic guitars and warm vocals from Winship on an Americana and country fueled opener, and “That’s What Ghosts Are For”, with Owen Winship, follows and brings a soulful setting to the haunting folk tune.

Elsewhere, “Crossing The Great Divide” recruits Travis Book on a track with soft horns and rootsy ideas where vocal harmonies complement the cautious atmosphere, while “The Buzzard’s Dilemma” doesn’t need vocals for its retro, dixie beauty to shine bright.

The back half of the record offers us “Always The Mountain”, where a rugged spirit winds through the Americana/folk instrumentation, as well as “What’s The Matter With The Well”, where Ivan Nevile helps illuminate the funky, bluesy album highlight. “I Thought You Were A Goat #2” ends the listen with hip-hop nods in a percussively strong exit that’s unexpected and easy to embrace.

Releasing a pair of albums on the same date after 22 decades away from solo work is probably not a task many musicians would take on, but Winship pulls off the feat with poise, balance and extremely proficient skill.

Travels well with: Tom Waits- Rain Dogs; Woody Guthrie- Dust Bowl Ballads

Bounty

Self-Released, 2019

8/10

Listen to Bounty

A world traveling Buddhist Monk with a penchant for folk and country sounds, Bill Bloomer may have gotten a late start in the world of recorded music, but he’s making up for it quickly as Bounty is his 5th album in just over a decade.

“Doing Things Different” starts with Bloomer’s warm acoustic picking and deep vocals, as harmonicas complement the campfire-esque folk delivery, and “Earthly Sensations” follows with gravelly singing in the old time feel of the horn filled, retro fun.

Near the middle, “Lonely People” offers a sparse setting where percussion and female backing vocals are present, while “No Hay Otro” recruits plenty of rhythm into the cultured album highlight.

At the end, “Hog Leg Stew” taps into subtle R&B nods in the swampy blues setting, and “Anyway I Found You” strips the atmosphere bare with Bloomer’s rugged yet melodic vocals soaring amid strategic keys. “Thoroughbreds” ends the listen on one of the fullest tunes, as marching band style drumming and playful Americana punctuate the rich experience.

A previous rodeo star whose career was ended by an injury, though Bloomer only picked up a guitar at age 36, he delivers like a natural troubadour, and is backed up by violins, accordions, and pedal steel, among others, on this poetic and timeless collection of 11 original and compelling tunes.

Travels well with: Woody Guthrie- Dust Bowl Ballads; Bob Dylan- Bringing It All Back Home

Wind Off The Hudson

Savant, 2019

8/10

Listen to Wind Off The Hudson

A 40 year veteran to jazz and Latin sounds, Bill O’Connell is in great company here as The Afro Caribbean Ensemble make their recording debut on this complicated and timeless collection or covers and originals.

The title track starts the affair with playful keys and plenty of festive rhythm in the graceful yet frisky opener, and “Gospel 6” follows with a more subdued exploration of the immense talent present, as horns become front and center.

Further on, “I Don’t Have An Answer” has the mood shifting to contemplative on the breezy, calming jazz highlight, while “Perdido” recruits a soulful shuffle to the cultured fun.

Near the end, “C Jam Blues” indeed brings a blues spirit to the intoxicating interplay between the instruments, and “Discombobulation” ends the record with acrobatics keys and meticulous sax playing in a strong exit to a powerful, sophisticated album.

Even though O’Connell is the leader, he gives much space to trumpets, trombones, congos and flutes, as the entire ensemble rework several classics in their thriving and enthralling vision. Fans of jazz and Latin music with plenty of brass on hand will find much to adore on Wind Off The Hudson.

Travels well with: Eddie Palmieri- Mi Luz Mayor ; Tito Puente- Lo Mato

Wake Up, The Funk

Self-Released, 2019

8/10

Listen to Wake Up, The Funk

An Italian outfit with a penchant for funk fun, The Black City know their way around a solid groove, but there’s more than just funk to be found in the trio’s musical arsenal.

The title track starts the listen and indeed brings funk spirited guitars to a rhythmic and vocally smooth opening, and “Stone Free” follows with percussively strong and playful instrumentation that takes nods to the ‘70s.

Near the middle, “Be Quiet” adds some mystery with hushed vocals behind a precise and adventurous atmosphere that even touches on hip-hop, while “Original Sound” recruits a reggae and dub spirit with great results.

At the end, “Goosebumps” finds the listen entering hazy rock territory with blues licks abound, and “Funky Time” exits the listen to similar to how it started- knee deep in retro-funk

The members that comprise The Black City all have lengthy and glowing resumes, and here their eclectic formula will appeal to fans of R&B, garage rock, blues, soul and, of course, funk.

Travels well with: Ossi Duri- The Last Of My Dogs; Lou Bega- Lounatic

Leaving On A Jet Plane

Country Rewind, 2019

8/10

Listen to Leaving On A Jet Plane

Created by seasoned veteran guitarist John Kribbs with the vision of birthing the ultimate bluegrass album, these 15 meticulously crafted tunes sure do make a valiant run at that goal.

“Adrenaline Hayride” starts the album with lightning quick instrumental banjo acrobatics, and the title track follows with warm, soothing vocals on a cautious tune with much rural melody on the classic.

Elsewhere, “Bartender’s Blues” does recruit a blues spirit on the spirited ballad, while “Dixie Hoedown” will get any fan of bluegrass looking for the nearest dance partner with its swift, intricate musicianship.

Deeper cuts include beautiful interplay of “Foggy Mountain Breakdown”, and the sublime vocal melodies of “More Pretty Girls Than One”. “Salt Creek” ends the listen with gorgeous picking and upbeat playfulness on the ideal exit to an accomplished batch of songs.

Kribbs has an all star cast with him on this record, and together the ensemble breathe new life into these timeless tunes that will fit quite well in the collection of any bluegrass fan.

Travels well with: Williamson Branch- Free; Carolina Blue- I Hear Bluegrass Calling Me

The Cathedral

Dune Altar, 2019

9/10

Listen to The Cathedral

A Los Angeles outfit with a penchant for punk, shoegaze and pop sounds, this debut album from Brass Box tosses in everything we love about the aforementioned genres, and adds their dark, reverb friendly formula to the captivating listen.

“Bats” dives right into an introduction heavy on atmosphere and calculated dream-pop ideas with pretty vocals from Ammo Bankoff, and “Golden” follows with much attention to detail as the busy tune unfolds with textured haze and melody.

Elsewhere, “Surrender” has the band poking and prodding at post-punk ideas while still very much residing in syrupy shoegaze, while “Waves” recruits a darker spirit with crisp percussion and moody tension.

Deep in the album we are treated to “Roses”, where a calmer setting of acoustic guitars finds its way into the cautious highlight, and “Ivory Skies” pushes and pulls with gorgeous interplay between the instruments and even more sublime vocals. The record ends on “Parting Ways”, where Brass Box put their ominous twist on indie-rock with shimmering, mysterious and addictive fun.

The members of Brass Box have paid their dues in groups like Magic Wands, War Tapes, Rituals and Black Flamingo, but in this ensemble their respective talents shine the brightest. A record that would be relevant in any decade since the ‘80s, The Cathedral is a must for those who adore names like Smith, Marr, Sumner and Murphy

Travels well with: The Cure- Disintegration; Chasms- On The Legs Of Love Purified

Gross National Happiness

Self-Released, 2019

8/10

Listen to Gross National Happiness

The Brooklyn based pair The Bright Smoke return after a 4 year hiatus from new music, and their artistic and blues influenced indie-rock formula has never sounded better.

“Broken Party” starts the listen with a quick blast of atypical indie-rock with expressive vocals and tense music, and “American Proletariat” follows with an ambient feel amid warm, flourishing grooves.

Near the middle, “Orbit” offers a sultry and emotive tune, where Mia Wilson’s sturdy pipes are especially charming, while “The Lion And” gets bouncy, spacey and buzzes with nods to the early days of alt-rock.

Deeper tracks yield the stylish, hypnotic “Again Again” and the multifaceted “Mauretania”, where precise drumming and a haunting setting punctuate the mood well. The short album exits on “Lower 48”, as experimental moments and breathy vocals from Wilson unfold with cautious skill.

Wilson, who previously played with The French Exit, and Quincy Ledbetter have a dynamic chemistry here, making The Bright Smoke one of the most unique and captivating duos in today’s indie-rock. Their time away certainly didn’t diminish their prowess, as Gross National Happiness is easily their best work to date.

Travels well with: Radiohead- Hail To The Thief; PJ Harvey- To Bring You My Love

Kill The Man

Poison The Moon, 2019

8/10

Listen to Kill The Man

A listen that’s not as intimidating as the title and cover art may lead you to think, Brittany Johnson, aka Britt, offers us 6 tunes on her debut of thoughtful, reflective pop that’s guitar focused and lyrically very personal.

After the brief 30 seconds of the dreamy “Out”, “Crisco” dives into ambient indie-pop that builds into a guitar and percussion spirited affair where ebbs of shimmering sparseness add greatly to the tune.

In the middle, “Middle Man” displays her strong vocal range on a fuller excursion into indie-rock meets post-punk, while “For Show” recruits acoustic guitars on a warm, agile strummer.

Near the end, “Handle It” brings us into a swift setting of infectious and melodic pop ideas, and “Trial Period” ends the EP strong with pretty singing on a cautious alt-rocker that jangles in all the right ways.

A very impressive start for the young artist, Britt is yet another talented, creative Houston based songwriter we should all be keeping an eye on.

Travels well with: Pearl Crush- Coax Me Out; K. Campbell- Heads Up

The Remedy

Self-Released, 2019

8/10

Listen to The Remedy

A Sweden based outfit who take influenced from artists like Led Zeppelin or even Green Day, By Aim pack a lot of punch and melody into this energetic sophomore album.

After a thundering and riff heavy start with the anthemic and melodic rock of “Some Kind Of Voodoo”, “Carry Me Home” brings plenty of charged rhythm to an immediately memorable, arena friendly rocker.

Further along, “Man On The Edge” uses precise, swirling guitars for one of the album’s best, while the percussive heavy “Minus M” recruits a hypnotic formula for a quieter outing that’s no less impactful.

Near the end, “Together Apart” takes nod to ‘90s alt-rock with great results, and “Louder Than Reggae” ends the listen with a throbbing, powerful conclusion where backing vocals and attention to mood illuminate the exit.

A well recorded listen that finds a nice place to reside between raw and polished, The Remedy is an infectious affair that all fans of rock from any decade since the ‘70s will find irresistible.

Travels well with: Foo Fighters- One By One; Millencolin- Home From Home

Mr. Country

Country Rewind, 2019

8/10

Listen to Mr. Country

Even though he passed away nearly a decade ago, fans of classic country aren’t going to pass up an opportunity to hear Carl Smith tunes, and with Mr. Country we’re treated to selections that were a bit obscure and/or never commercially released.

“Are You Teasing Me” gets the album off to a classic country start with aching pedal steel and a twangy, shuffling setting of warm sounds, and “If Teardrops Were Pennies” follows with an emotive, soulful spirit.

Elsewhere, “Deep Water” and “Loose Talk” move with a quick pace and soothing backing vocals that could soundtrack a barn dance, and in the middle “There Stands The Glass” illustrates Smith’s strong vocal prowess with a retro feeling.

Near the end, “Foggy River” recruits intricate guitar work on a melodic and rural highlight, and the ballad-esque “The Best Years Of Your Life” tugs on the heartstrings with its touching delivery. The album ends on “The Way I Lose My Mind”, where Smith parallels legends like Presley and Cash with grace and much timeless skill.

A legend who had hits across 3 decades, this recording was culled from master tapes that were in storage for 50 years, and those with an ear for vintage or modern country will find much to enjoy here.

Travels well with: Conway Twitty- Country; Waylon Jennings- The One And Only

Dead In A Dream

Self-Released, 2019

9/10

Listen to Dead In A Dream

Few bands in the punk/alternative/grunge realm are as exciting as Castle Black. With each subsequent release- and there are many- these New Yorkers only get more interesting, more unconventional and more dynamic in their approach. Here, they offer 3 tunes on their first EP in a two part series of their evolving formula that’s both gritty and refined.

“B4 U Do The Same” starts the listen with buzzing alt-rock and moody post-punk as raw yet melodic vocals enter the equation, and “Know Me, Anyway” follows with a more serene setting of grungey sounds before building into a visceral and driving, fuzzed out, psyche-rock inspired highlight.

“Dead In A Dream” ends the quick listen strong with restrained yet soaring musicianship where power and melody are intertwined amid plenty of strategic feedback.

Much like everything this Brooklyn trio has done in recent years, Dead In A Dream is a quick, complicated, sometimes eerie, and always unpredictable display of incredible interplay between the three, as frontwoman Leigh Celent further cements her place as front and center in one of the creative outfits that exists today.

Travels well with: Sonic Youth- Dirty; Babes In Toyland- Spanking Machine

These Are My Whiskey Dreams

Self-Released, 2019

8/10

Listen to These Are My Whiskey Dreams

A New York City native and now Los Angeles resident, Christina LaRocca takes the blues and soul influences from her earlier years, and injects them into a wealth of genres running wildly amid her current California home on this sophomore album.

“A Man Like You” gets the listen off to a hand clapping and acoustic guitar strumming start, as LaRocca’s soulful, booming vocals enter the bright country and Americana template, and “Capsized” follows with pop influences in the expressive anthem with LaRocca handling organ.

Elsewhere, “Hard To Trust In Love” brings the volume down with gorgeous cello in a hushed setting, and “Smoke Marijuana” recruits reggae influences into the laid back, groove filled fun.

The back half of the album offers the lush, dynamic, pop-friendly “Hearts Beat Faster”, the charged yet restrained “Breathe”, which pushes and pulls with beautiful tension, and “Child Of The Sun”, where LaRocca’s vocal range impresses as does the melodic yet rugged musicianship. “I Am Only Human” ends the album with much attention to mood, as a soulful formula bordering on R&B enters the heartfelt exit.

LaRocca finds herself in the company of some all star producers on this effort, and it shows in the lively and very crisp delivery of the tunes. Now in her mid 30’s, the songstress brings an elegant maturity to this record, yet with plenty of power and playfulness in the very forthright and unique endeavor.

Travels well with: Nattali Rize- Rebel Frequency; Florence And The Machine- Lungs

Fire Out Of Stone

3 Notches, 2019

9/10

Listen to Fire Out Of Stone

Austin local Chuck Hawthorne sure did impress a lot of people with his 2015 album, Silver Line, and this follow up is sure to impress further with its themes around survival and healing that’s delivered with sincerity, timelessness and plenty of authenticity.

“Such Is Life (C’est La Vie)” starts the listen with Hawthorne’s compelling storytelling in a warm, rustic setting where strings, tambourines and female backing vocals make for an inviting opener, and “Amarillo Wind” follows with delicate beauty in a finger picking masterpiece.

In the middle, “Sara’s All The Way” unfolds with an aching folk-rock quality where Hawthorne’s deep pipes are especially expressive, while “Worthy Of The Sea” delivers a slow burning highlight of sparseness as dual gender vocals really add to the experience.

Near the end, “Broken Good” moves with an upbeat pace of jangly, feel good rootsy rock, and the country spirit of “Standing Alone” resonates with a moving, emotive delivery. Hawthorne ends the listen with “I Will Fight No More Forever”, a cover off of his late friend Richard Hobson’s posthumous record, where sophisticated and lush musicianship meet on a powerful and glorious exit to an incredible set of tunes.

A man that has lived a life full enough for two people, Hawthorne’s strong songwriting and rootsy, country and Americana influenced art touches on the human experience in thoughtful, articulate and inspiring ways that everyone would benefit from spending time with.

Travels well with: John Prine- The Missing Years; Richard Dobson- I Hear Singing

White Jazz Black Magic

Metalville, 2019

8/10

Listen to White Jazz Black Magic

A pub-rock outfit with a penchant for blues sounds, musicians with lineage in bands like The Quill, W.E.T. and Electric Boys comprise Cirkus Prutz, and they produce 9 originals here with a wealth of talent on hand.

“Leave Me Alone” starts the album with a rollicking and bluesy rocker of fun guitar licks and warm vocals, and “Mojo” follows with a slower pace where strong guitar work and a rhythmic affair tips it hat to Eric Clapton.

In the middle, “Aim To Please” recruits a festive spirit to the upbeat setting, while “Hell To Pay” finds a creative place to reside somewhere between classic rock and blues influenced Southern Rock.

Near the end, “Friends” might be the most accessible song with sweet melodies and a sing-along approach that gets pretty close to pop-rock, and “Zombie Stomp” closes out the listen as firm as it started, and isn’t as ominous as it sounds, instead offering dynamic interplay with bursting creativity.

This Swedish quartet know their way around a rock tune that’s full of boogie, blues and even subtle country moments, and White Jazz Black Magic finds the veterans at a career high.

Travels well with: Gary Moore- Run For Cover; Rival Sons- Hollow Bones

Made Of Gold

Self-Released, 2019

8/10

Listen to Made Of Gold

A young outfit out of San Jose, California, The Dangerous bring indie-rock and reggae together with their breezy and detailed formula where peace and love are reoccuring themes across these well thought out tunes.

“Drivin’” starts the album with fluid grooves and lite-reggae sensibilities and further along “One Love” brings warm vibes on a vocally expressive highlight. “Made Of Gold (For You)” then flows with bright melodies and dynamic interplay between the proficient instrumentation on a feel good reggae anthem.

Late in the disc, intricate guitars and the fuller atmosphere of “She Comes & Goes” get a bit spacey with plenty of rhythm, and the calm guitars and spirited percussion illuminate the romantic “So High”,

Although this is their debut, the members of The Dangerous have already cut their teeth in outfits like Citabria, The Cool Bus Experience, and Yeshua & The Hightones, and their collectively chemistry here brings us an easily enjoyable record with tremendous lasting power.

Travels well with: Rocky Dawuni- Beats Of Zion; 311- Uplifter

BASSically Jazz

Burton Avenue, 2019

8/10

Listen to BASSically Jazz

An artist with 4 decades of experience with his instrument, David Finck has an impressive resume including collaborating with George Michael, Dizzy Gillespie and Ivan Lins, among others, and BASSically Jazz, Finck’s 3rd album as leader, again illustrates his unparalleled talent on bass.

“Old Devil Moon” starts the mostly instrumental album with crisp, fluid jazz sounds as swift percussion and spirited vibraphone complement Finck’s strategic bass playing, and “O Barquinho” follows with tumbling musicianship where softer ebbs are intertwined with the busy, flowing rhythm of bossa nova.

The instrumentation remains intricate and playful the entire listen, as middle tracks like the sparkling “Moment’s Notice” and the slower, contemplative “When I Look In Your Eyes” illustrate much diversity, and album highlight “Alfie” offers gentle bass plucking amid a mysterious, alluring setting.

Near the end, “Walkin’ My Baby Back Home” recruits creative interplay between the keys and bass, and “All My Tomorrows” concludes the album with expressive vocals from Finck in a romantic, light jazz exit.

An extremely well done affair where flutes, trombones, guitars and drums are all also delivered sublimely, the production is also top notch, making this a ‘basically jazz’ record that is impossible not to enjoy.

Travels well with: Christian McBride- Kind Of Brown; John Patitucci- Line By Line

Sugar Drops

Red House, 2019

8/10

Listen to Sugar Drops

The Minnesota stars return with another installment of their blues and jazz friendly sounds, and this time the outfit recorded in a formal studio in Nashville to help capture their unique Americana formula.

“Bone Collection” starts the listen with sultry vocals and a classic New Orleans jazz feel with plenty of crisp instrumentation, and “I Can’t Believe I Let You Go” follows with a breezy pop feel as the band inject a soulful gloss to the fun.

Further along, “Little Miss Sunshine” recruits bright keys into R&B, sing-along playfulness, while “Another Lonely Day” uses strategic horns and organs in the contemplative atmosphere.

Near the end, “Mr. Big Talker” utilizes strings to punctuate the sophisticated waltz mood, and “Magic Kisses” offers a festive setting of danceable and feel good vibes in the album highlight. “Deep End” exits the listen soft and emotive in a key heavy ballad where the intimacy seemingly knows no bounds.

A band who are only getting better with each subsequent release, the decision to record in a proper studio paid off in spades here as Davina and company move their jazz, blues, pop and retro hybrid onto another level of greatness.

Travels well with: Preservation Hall Jazz Band- That’s It!; Haley- Pleasureland

Semi Songs

Self-Released, 2019

8/10

Listen to Semi Songs

The brainchild of Italian native and current Los Angeles resident Sofia Hultquist, as Drum & Lace she brings sampled field recordings, plenty of synth and moments of contemporary electronica on this very unusual and alluring spin on classical music.

“Outsider Complex Part 1” gets the EP started off with a dizzying display of jarring classical sounds before a calmer setting enters of strings and keys, and “Parhelion” follows with a moody atmosphere where a cinematic quality of cascading beauty winds between the cellos and violin.

The last two tracks follow a similar course, including the sparse opening of “Gardenia” that, in its 14 minute duration, offers twinkling keys amid a soulful ambience that unclassifiable, and “Outsider Complex Part 2”, which ends the listen with a bouncy approach where the strings dance and the keys ruminate with a thoughtful spirit.

Although she has primarily worked in the area of film, this debut penned for two cellos, violin, piano and electronics proves that Hultquist absolutely should be devoting her time to formal albums, too, as her eclectic and captivating skill is impossible to deny.

Travels well with: Sound X Sound- Music For 8 Recorders; Lost In The Trees- A Church That Fits Our Needs

Bon Ton

Red Hot, 2019

9/10

Listen to Bon Ton

An accordion enthusiast, recent Grammy nominee and frontman for his New Orleans band, Dwayne Dopsie knows his way around a blues, funk, and cajun influenced tune that’s full of contagious rock’n’roll spirit, and Bon Ton proves that in spades.

“Harry’s Creole Bar” starts the listen with dialogue before bursting into vibrant, animated and bouncy accordion fueled fun with flowing melodies and a danceable beat, and “Pretty Lil Girl” follows with a rugged approach running through the rhythmic rocker.

Elsewhere, “Hey La Bah” recruits a festive spirit with a jumpy and upbeat formula that’s sung in French, while “Such A Good Man” trims the pace back with a retro feel injected into the hazy, feel good tune.

The back half of the listen offers the power and melody of “I’m Your Man”, as well as the accordion and washboard acrobatics of the instrumental “Louisiana Morning”. “Give Me What I Want” ends the fun on an uproarious yet meticulous anthem where guitar solos add greatly to the experience.

A listen with plenty of soul and and an unparalleled amount of energy, Dopsie and company have crafted a very unique and irresistible record that’s going to be one of the best this year.

Travels well with: Lost Bayou Ramblers- Kalenda; Walter Washington- Wolf At The Door

Swing Out!

Self-Released, 2019

8/10

Listen to Swing Out!

The Eyal Vilner Big Band have built up a lot of momentum with their last 3 albums, and this 4th effort continues their jazz and swing prowess with 18 of New York’s best musicians on hand.

“Downhill” gets the listen off to a vibrant and sophisticated start of big band sounds with hard bop nods, where horn solos are in attendance, and Duke Ellington’s “In A Mellow Tone” follows and indeed stays calm with keys and strong, soaring vocals from Brianna Thomas.

Elsewhere, the swift shuffling and washboard fun of “Dinah” is perfectly suited for the dance floor, while the elegant “Do You What It Means” offers us piano and brass solos on the feel good tune.

Deeper cuts like the festive, solo filled “Big Apple Contest” and the soulful, retro sounds of “My Baby Just Cares For Me” keep the song craft top notch, and near the end “5-10-15 Hours” lets the baritone sax shine on the ultra melodic album highlight with call and response fun. The album exits on the ambient “I’m On My Way To Canaan Land” where emphasis on drums invades the highly creative, flute friendly and cultured conclusion.

Swing Out! was recorded live in the studio, and it’s quite obvious with the boundless energy present, though the flawless musicianship hardly seems possible without overdubs. Vilner, an Israel native who now lives in NYC, crafts one memorable tune after another here, primarily rooted in the ‘50s style of Big Bands, although all ages will appreciate the timeless appeal here.

Travels well with: Duke Ellington- Blues In Orbit; Count Basie- Warm Breeze

Eye Said So

Number 9, 2019

8/10

Listen to Eye Said So

A self-described ‘shizo rock’ outfit from Austin, this first EP from Eye Said So brings uncontainable energy to a listen where many different ideas from the rock spectrum unfold with much creativity.

“Ipso Facto” gets the album started with a driving rock tune that’s both crunchy and spacey, and “State Of Mind”, with Taeryn Rayne, brings the pace down to a mysterious setting that builds into a buzzing atmosphere.

At the halfway point, “Shove” brings us a firm beat in a hazy environment that bursts into industrial like energy, while “Chrome” puts a fun spin on fuzzed out alt-rock.

The EP ends on the throbbing bass work of the charged “Wall”, and “Stock King”, with DJ Centipede, exits with restrained melodies in a finish that pushes and pulls with busy moments of exploration.

Although they’re just a duo, Eye Said So make full, loud and atypical sounds that all fans of anything related to alt-rock will find much enjoyment in. A fine debut indeed, this is a band to keep an eye on.

Travels well with: Queens Of The Stone Age- Songs For The Deaf; Twenty One Pilots- Vessel

King’s Mouth Music And Songs

Warner, 2019

9/10

Listen to King’s Mouth Music And Songs

The Flaming Lips never do anything conventional, and this 15th album continues that trend with cinematic narration from Mick Jones, of The Clash, that soundtracks Wayne Coyne’s art installation, the aptly titled King’s Mouth.

“We Don’t Know How And We Don’t Know Why” starts the album with spoken word from Mick Jones on a spacey, ambient affair, and “The Sparrow” follows with Coyne’s raspy vocals alongside a bare acoustic, cosmic gem.

Elsewhere, “Mother Universe”recruits classical undertones amid an ethereal delivery, while the quirky “ “How Many Times” is part hushed, part soulful pop flavor.

The back half of the listen brings Jones back on the experimental and dense rock of “Funeral Parade”, and “Mouth Of The King”, also with Jones, elicits a sunnier approach of acoustic guitar prowess. “How Can A Head” finishes out the listen with a retro-pop, orchestral and anthemic feel, a completely stunning exit to the creative environment.

Much like their exceptional Yoshimi album, the tunes here tell a vivid story while delivering further proof that a band who have made an international impression with their iconoclastic version of neo-psychedelia, aberrant post-punk and prog-rock nods are clearly nowhere near running out of ideas.

Though concept albums at this level of skill might alienate a lot of listeners, King’s Mouth might actually be one of the most accessible albums in decades from Coyne and company.

Travels well with: Pink Floyd- Wish You Were Here; Radiohead- The King Of Limbs

Parts Of Anything

Blight, 2019

8/10

Listen to Parts Of Anything

The brainchild of Washington D.C. multi-instrumentalist David Klinger, as Forgetter the artist brings a very eclectic and cautious display of massive skill with Parts Of Anything.

After the brief key heavy and soft “Old Field”, the album moves into the warm textures of “Colorblind”, where flashes of alt-rock and indie-rock highlight a tune where it almost seems like 3 songs are playing simultaneously, yet with much fluidity.

At 17 tracks, there’s much to absorb here, but Forgetter keeps the setting varied with the hazy, orchestral baroque-pop of “Never Gonna Find You”, the upbeat and sunny “Skeleton”, and the tense, cinematic “Maple Seeds”, where psyche-rock and folk ideas are in attendance.

Near the end, the title track offers a serene and mysterious elegance that’s on par with Thom Yorke’s work, and “On A Wave” ends the affair with graceful keys in a bare execution of singer-songwriter brilliance.

Formerly of the much adored outfit Frau Eva, as Forgetter Klinger offers heartfelt, thoughtful and constantly changing sounds that make Parts Of Anything a bright spot in today’s version of indie-rock.

Travels well with: Radiohead- The King Of Limbs; Elliott Smith- Figure 8

A People’s History Of Gauche

Merge, 2019

8/10

Listen to A People’s History Of Gauche

Washington D.C. has a long history of thriving punk and hardcore sounds, and these days Gauche, who are six players on this recording, are right at the top of that esteemed list. On their first record with the Merge label, Gauche’s New Wave and post-punk ideas unfold with much unpredictability and creativeness, as themes surround anxiety, capitalism and colonization in their inimitable vision.

“Flash” starts the album bass heavy before a firm groove is found amid plenty of melodic vocals that take nods to the ‘70s, and “Cycles” follows with a peppy, punky version of indie-pop armed with a saxophone.

Elsewhere, “Pay Day” finds the outfit in post-punk territory but far from your typical approach to the genre, and “Surveilled Society” keeps the quirkiness alive on a subdued turned swift setting with plenty of dissonance.

The back half of the album offers the group vocals of “Running”, the pretty singing of “Boom Hazard”, which recruits strategic brass, and the eccentric but oh so charming “History”. “Rectangle” ends the listen with yelping in a busy atmosphere that tosses countless ideas into their powerful formula.

A raw yet meticulous sophomore album, though members of Priests and Downtown Boys help make up Gauche, ultimately A People’s History Of Gauche is its own animal, where an artistic approach infiltrates their cautious and animated qualities that bring to mind The B-52’s if they grew up on mid-period Dischord Records.

Travels well with: The Raincoats- Moving; Q And Not U- No Kill No Beep Beep

Chronicle: Friends And Music

Pinecastle, 2019

8/10

Listen to Chronicle

Though Gena Britt cut her teeth as a member of Daughters Of Bluegrass, she might be best known as a current player in Sister Sadie, who have quickly become the supergroup that everyone in the bluegrass scene is admiring.

On this, her sophomore solo album, which arrives over a decade after her last one, Britt is in great company with plenty of contributors, as she handles banjo duties on all tracks and vocals on about half.

“Over And Over” gets the album off to a strong start with quick banjo work and soaring, pretty vocals from Britt, and “You Don’t Get Over That” follows with a softer, gorgeous display of restrained skill.

Further along, “Get Up In Jesus’ Name” is a gospel influenced tune with plenty of backing vocals, while “On And On” illustrates adventurous interplay between the organic instruments with flowing vocal harmonies.

The back half offers the timeless “Traveling Poor Boy”, where Marty Raybon lends his fluid pipes, and the cautious atmosphere of “Untold Stories”, where many voices illuminate this bluegrass highlight. “Looking Forward To The Good Life” ends the listen calm and agile, where Robert Hale harmonizes with Britt as aching mandolin helps punctuate the emotive landscape.

There’s a very good reason why Sister Sadie were Grammy Nominated; the songwriting and execution of that ensemble is nothing short of extraordinary, and Britt brings that talent to this highly accomplished and extremely timeless affair.

Travels well with: Sister Sadie- II; Dale Ann Bradley- The Hard Way

Eating Music

Apollon, 2019

9/10

Listen to Eating Music

A post-rock and prog-friendly outfit from Norway, Glutton make great use of horns and strings as well on this 3rd album that really showcases the strong talent in this trio.

“Far Away” starts the listen with nearly 10 minutes of rhythmic melodies that mix alt-rock with jazz sensibilities in a unique fashion, and “The Tomb Of The Unknown Ontonaut” follows with fuzzy guitars, a soaring atmosphere and dynamic interplay between the instruments.

Elsewhere, “Pinhole” initially shimmers with pop influences in a calmer setting of nearly post-punk ideas, while “Future Blue” shines bright with prog-rock nods on the album highlight. “Space & Our Hearts” ends the listen and indeed finds spacey ebbs in between the propulsive and calculated power and melody- a recurring theme across the entire affair.

A listen that sounds like it could have been created in any decade since the ‘70s, Glutton birth creative, warm textures that never unfold in predictable ways on this stunning record that’s charmingly familiar yet very atypical.

Travels well with: Radiohead- In Rainbows; The Mars Volta- Frances The Mute

Come Undone

VizzTone, 2019

8/10

Listen to Come Undone

Gracie Curran’s sophomore album arrives a half decade after her acclaimed debut, Proof Of Love, and much like that first effort the songstress shows us how well those raspy, alluring pipes can resonate.

The title track starts the listen with spirited yet sparse guitars before a warm, rhythmic blues setting sweeps in as Curran’s soulful expressive vocals take center stage, and “Ernestine” follows with a quieter setting of timeless folk sounds and dreamy singing.

Further along, “Stay Up!” recruits bright horns on a bouncy and upbeat excursion into jazz fun, while “The Things We Love” has the album turning into an emotive display of power and melody.

Near the end, “If Mama Ain’t Happy” is a piano rocker that’s animated and full of body shakin’ melodica that would make Jerry Lee Lewis proud, and “Chasing Sunsets” ends on a contemplative note where Curran’s pipes soar.

After 5 years of touring between her 2 records, Curran has stories to tell, and they unfold here with forthrightness, cautiousness and plenty of help from her esteemed friends. If Curran sees another Blues Award for Come Undone, it wouldn’t surprise me one bit.

Travels well with: Alabama Shakes- Boys & Girls; Grace Potter & The Nocturnals- This Is Somewhere

In Any Key

Grevlinto, 2019

8/10

Listen to In Any Key

An artist who is following in her father’s footsteps, on this debut solo record Gretje Angell continues the jazz lineage in her family with an eclectic and timeless approach to tunes by Ellington, Gershwin and Youmans, among others.

“(Our) Love Is Here To Stay” starts out the listen with Angell’s silky smooth vocals against fluid and agile light jazz sounds on this bossa nova version, and “I’m Old Fashioned” follows with a bouncy, playful setting and brushed percussion in a swing atmosphere.

Even though there’s just 9 tracks, each one leaves an indelible impression, including the cinematic and emotive ballad “Deep In A Dream”, and the guitar fueled grace of the cultured “Berimbau”.

Near the end, “One Note Samba” puts Angell’s incredible pipes on display in a hushed environment with some of the best guitar work present, while “Tea For Two” is a cozy offering of classic jazz appeal. The unassuming listen ends on “Them There Eyes”, where vocal acrobatics and a swift, charming closer continue the strong, accomplished songwriting.

It’s no surprise that Angell is classically trained, as her delivery is precise and first rate. Though she’s fronted plenty of bands in her day, this effort proves that her musical vision works just as well on her own, too.

Travels well with: Diana Krall- Quiet Nights; Ella Fitzgerald- The Best Is Yet To Come

Sun Release

Self-Released, 2019

9/10

Listen to Sun Release

An instrumental quintet from the deep parts of Pennsylvania, Heron bring an expansive and cinematic approach to this impressive sophomore album that pushes and pulls with unique tension.

The aptly titled “Light” starts the listen with restrained, atmospheric instrumentation that builds into a soaring, anthemic rocker, and “The Void” follows with 7 minutes of emotive exploration that often seems like it’s going to fall into the abyss, but maintains a very clear vision of post-rock dynamics.

Even though there’s just 8 tunes here, every track is a gem, especially the more forceful, almost intimidating presence of the spacey “Shadow Phase”, while the cascading beauty of the majestic “The Glow” builds into a catharsis.

Near the end, the hazy “Splashdown” leaves an indelible mark with a hypnotic delivery and “Sun Release” ends the listen on a sparse offering that brings mystery, even more beauty and, eventually, a thundering display of monumental power as it erupts into an ebullient exit.

A journey that’s dark and bright, calm yet tumultuous, and never short on creative ideas, Sun Release is a record that even non-fans of instrumental music will be drawn to, and, of course, is an absolute must for the vocal-less crowd.

Travels well with: Explosions In The Sky- The Wilderness; Tycho- Epoch

Which One Am I?

Self-Released, 2019

8/10

Listen to Which One Am I?

For the uninitiated, Howie D was and still is a member of the international superstars the Backstreet Boys. A true renaissance man, he also dabbles in acting, real estate, and he’s even released 3 solo albums to date as well, including this new effort, Which One Am I?

The title track starts the album with Howie poking fun at himself for being the Backstreet Boy that people least recall, as he croons with soulful pipes on a playful pop-rocker, and “Back In The Day” follows with a retro groove in a fun story about his formative years.

Elsewhere, “Shy” puts the focus on keys as Howie shows us his strong vocal range on a ballad turned oldies vibe, while “Worry” has the album settling into reggae with fantastic results.

The back half of the record keeps the variety strong with the Spanish influenced “School Bell Tango”, the upbeat “Small Time Blues”, which leaves a big impact with bouncy blues, and the arena ready pop stylings of “The Me I’m Meant To Be”. Howie exits on “Lean On Me”, where he puts a modern twist on a classic that sounds perfect under his smooth pipes.

An album penned along with Broadway performers, Howie delivers an often theatric and family friendly record that revolves around themes of conquering insecurities and growing into his own. Even if he is the least internet searched Backstreet Boy, Howie D leaves an indelible impression on this eclectic and instantly enjoyable listen.

Travels well with: AJ McLean- Have It All; Chris Wallace- Push Rewind

One Day You’ll Miss Today

Self-Released, 2019

9/10

Listen to One Day You’ll Miss Today

A quintet from Rome, Irina Nestor explore boundless ideas in the post-rock, instrumental realm, where programming, synth, 3 guitars and precise drumming from ex-members of Two Naked Oceans, and Zerofans, among others, leave an indelible mark.

“‘Night Mr. Lenin” starts the album with a buzzing version of electro-pop and post-rock, where mystery and a chilling setting collide, and “Arpeggio Means Nothing” follows with a darker spirit and cinematic quality as meticulous guitars guide the journey.

Near the middle of the listen, “Alpha” offers a more sparse delivery of hypnotic, captivating instrumentation, and the beat heavy “Hawaii”, where meticulous synth manipulation produces one of the best tunes here that could also soundtrack a night at the club.

At the end, “Radio Guerrilla” winds with unpredictableness and warm melody, and “Pride Of Nations” finishes out the listen on an upbeat and charming display of alt-rock flourishes in a stunning exit.

Though they’ve only been together for 2 years, Irina Nestor exhibit a chemistry that seems like its been molded for decades, and One Day You’ll Miss Today is easily one of the best instrumental records of 2019.

Travels well with: Mogwai- Rock Action; Trentemoller- Lost Reworks

You Know

Cornelius Chapel, 2019

9/10

Listen to You Know

Jaco is Jake Waitzman, who’s spent much time playing drums in bands like Vulture Whale, The Wes McDonald Plan and Ham Bagby, but here he’s front and center on some giant sized rock that takes the influences of his many endeavors and packs an extremely memorable punch on this debut.

“On The Ground” gets the album off to a synth heavy start with bright sounds that settles into crisp and energetic alt-rock ideas, and “For Myself” follows with a more subdued approach that soars with a dreamy setting.

Elsewhere, “Blackboard” puts percussion center stage on a mid ‘90s rocker that will satiate any Sedadoh or Pavement fan, while the swirling guitars of “I Don’t Mind” help make this a stand out track on a listen where every tune is top notch.

The back half of the record is just as glorious, with the driving rock of “Shoe”, the classic rock tinted “You Way” and kinetic sounds of “Again”, which is a tune so well written, it’s worth the price of admission alone. “All Your Love” ends the fun on a multifaceted approach to Jaco’s eclectic and charged presence.

As far as first records go, it just doesn’t get much better than this. Technically proficient, daring in the all the right ways and finding the perfect balance between intensity and melody, You Know is absolutely one of the best records of the year.

Travels well with: Teenage Fanclub- Grand Prix; Big Star- Radio City

Volume Won

Vega, 2019

8/10

Listen to Volume Won

A thriving artist living in Tacoma, Washington, Jacques Gaines has spent much time making commercial music as well as TV and film in recent years, though prior to that he spearheaded the revered Canadian outfit Soul Attorneys in the mid ‘90s.

“Something Wrong With Me” starts the listen with acoustic guitars and soaring vocals from Gaines before a firm beat and layered voices enter the pop-rock formula, and “Countin’ On My Friends, with Rodney Skeritt, brings a soulful influence into the textured hip-hop flavor.

Elsewhere, “Friend For You” recruits a campfire-esque feeling to the upbeat fun, while “I Know That You Want To” offers an anthemic quality to the bluesy guitars, which brings even more variety to the affair.

Near the end, “Ottie Bootie Jello” shifts the listen into electro-pop sounds that are highly danceable, and the emotive rapping versus pretty singing of “Down To You” provides a deep album highlight. “I Am A Stone” ends the record with vocal harmonies and acoustic instrumentation on a poetic and thoughtful conclusion to a very well crafted journey.

A triumphant return indeed, Gaines proves that his creative prowess hasn’t subsided at all during his hiatus from pop music, and might actually be even stronger. Let’s hope that he’ll find more time for projects like this soon, as Volume Won is just what today’s music needed, i.e. more substance.

Travels well with: The Philosopher Kings- One Night Stand; Les Respectables- Sweet Mama

The Music City Sessions

Country Rewind, 2019

8/10

Listen to The Music City Sessions

In 1968 Jeannie C. Riley accomplished a rare feat by hitting #1 on the Billboard Charts in both the pop and country categories for her hit “Harper Valley PTA”, although this was just the beginning of her lengthy and esteemed career.

Here we get to take a peek at tunes recorded in 1970 that were never commercially released and intended for a TV show that featured country music artists.

“Country Girl” starts the record indeed firmly in country sounds as the songstress delivers flawless singing over warm, twangy sounds, and “That’s A No-No” follows with a rural shuffle that will easily get your body moving.

“Harper Valley PTA”, her massive hit, is included here and sounds as timeless as ever with plenty of soul in the tune, and “There Never Was A Time” follows later on with an emotive spirit and a touching delivery from Riley.

Deeper cuts like “Back Side Of Dallas” inject a Motown influence to the affair, while “Wish You Were Here” will get your head bobbin’, toe tappin’ and have you looking for your dance partner. “Roll In My Sweet Baby’s Arms” ends the fun with fluid, playful instrumentation, and encapsulates all the timelessness Riley displayed during her peak years.

Although Riley would later take up gospel sounds and deviate from her country roots, this rarities listen spotlights the songstress in her prime in the country world, and it truly is a thing of beauty.

Travels well with: Carl Smith- Mr. Country; Johnny Russell- All I Gotta Do Is Act Naturally

Heartbeat

Self-Released, 2019

9/10

Listen to Heartbeat

A Serbian jazz singer with a voice that can fit just about any situation, on Heartbeat, Jelena Jovovic’s first album as a leader, she offers 6 originals and 4 interpretations with an impressive band backing her.

“Witch Hunt” starts the album with nearly 9 minutes of Jovovic’s expressive vocals on the Wayne Shorter tune where saxophones and rhodes are in attendance, and “Paladin” follows with agile keys on the graceful traditional folk song turned jazz fun.

Elsewhere, horns invade “The Countless Stars”, where cultured Balkan rhythms help make this one of the best selections, and the bop friendly and playful “Bubu’s Song”, which is immediately memorable.

Near the end, “Time Is Here” recruits a warm and lounge feel to the sophisticated track, and “Pools” ends the listen with a dance friendly and percussively strong finish with backing vocals on the Latin flavored exit.

Jovovic and company put a unique spin on traditional jazz with her European heritage intact here, making Heartbeat one of the best jazz focused listens of 2019.

Travels well with: Dianne Reeves- Bridges; Sarah Vaughan- A Time In My Life

The Flood In Color

Nation Of Heat, 2019

8/10

Listen to The Flood In Color

After a nearly half decade hiatus from recorded music, Joe Pug returns with a career highlight, where an organic process that was never forced allowed this back to basics approach to resonate with a cautious, timeless feel.

“Exit” starts the listen soft and agile, as Pug’s wise, warm vocals guide us through timeless folk sounds, and “The Flood In Color” follows with pristine harmonicas as the setting finds a sparse, emotive delivery.

Elsewhere, “The Letdown” and “Long Midnight” are full of vivid storytelling with a rustic quality, while “Blues Came Down” unfolds with a calm blues touch on an intimate, contemplative stand out.

Late in the disc, “Here Again” flows with bare beauty, and “The Stranger I’ve Been” recruits a playful approach with accordions. The album exits on “Empty Hands And Broad Shoulders”, where more grace and sublime songwriting helps solidity this as Pug’s best work to date.

Now a family man with plenty of hobbies outside of music, Pug seems like he’s in a great place in his life, and his music follows suit with stripped down reflection that’s easy to embrace.

Travels well with: M. Ward- Post-War; Justin Townes Earle- The Saint Of Lost Causes

All I Gotta Do Is Act Naturally

Country Rewind, 2019

8/10

Listen to All I Gotta Do Is Act Naturally

A singer-songwriter and comedian who was most active in the ‘70s, All I Gotta Do Is Act Naturally collects some of the more rare tunes from Johnny Russell that were recorded for a broadcast in Nashville.

“Good Hearted Woman” starts the album with acoustic strumming and Russell’s warm, strong pipes on a melodic country tune, and “She’s In Love With A Rodeo Man” follows with pedal steel and an emotive spirit that’s both pretty and soulful.

Further along, “Johnny B Goode” has Russell doing the classic tune justice with his rural fun, and the barnyard swagger of the title track will certainly get your body moving.

Near the end, “Jambalaya” brings plenty of melody and crisp instrumentation to the album highlight, while “Mr. and Mrs. Untrue” recruits aching balladry in a contemplative setting. “The World’s Meanest Man” ends the listen with a rugged delivery that still retains the universally embraceable country template that Russell built his career on.

The Country Rewind label seems to have a knack for unearthing timeless recordings that deserve to be resurrected, and this collection from Russell is certainly continuing that trend. It’s no surprise that Russel’s tune have been recorded by Jerry Garcia, Buck Owens and Dolly Parton; the guy could write a country tune with lasting power.

Travels well with: Carl Smith- Mr. Country; Roy Drusky- It’s My Way

Jazz Tango Fusion

Zoho, 2019

8/10

Listen to Jazz Tango Fusion

An Argentina native and saxophone virtuoso, the Grammy Nominee Julio Botti returns with electric guitar, Hammond B3 organ and Rhodes piano to help fuel these tango influenced tunes.

“Imagenes 676” starts the listen with both restraint and playfulness in the cultured jazz fusion fun, and this continues on with highlights like the organ friendly and breezy melodies of “Celtic Feast”, as well as the multifaceted dynamics of “Chin Chin”.

Although there isn’t a dud to be found here, “Milongueta”, with its tense drumming and soothing saxophones, is one of the album’s best where elegance and mystery are both in attendance.

Of the originals (the rest are Pablo Ziegler and Astor Piazzolla songs), “Tango Blues” is exceptionally rhythmic with plenty of blues, too, while “Upper West” recruits Latin-bop fun with an intricate solo from Botti.

Botti is aligned with Andrew Bird, Juampy Juarez (guitars), Eduardo Withrington (keys) and Tiego Michelin (drums), and though Botti’s soprano and tenor saxophone acrobatics are certainly the focal point, he’s in esteemed company on this expertly crafted affair.

Travels well with: Pablo Ziegler- Los Tangueros; Astor Piazzolla- Spain Again

Lucky, Revisited

Self-Released, 2019

8/10

Listen to Lucky, Revisited

The Virginia songstress returns about a year after her impressive Butter album, and much like the title implies, Karen Jonas brings us 9 tunes from her first 3 albums, plus 2 covers, and they’re stripped down to raw intimacy that’s still plenty frisky and adventurous, too.

“Ophelia” gets the album off to an unexpected start with ultra-quick guitar playing on a barnyard rocker where Jonas shows us that her strong, soulful pipes have never sounded better, and “Lovesick Blues” does justice to the original with some playfulness in the classic Hank Williams tune.

Elsewhere, “Lucky” brings a darker folk spirit to the listen, while Bob Dylan’s “It Takes A Lot To Laugh, It Takes A Train To Cry” is a display of sublime beauty in a hushed setting.

Near the end, “Country Songs” lives up to its title with some warm Nashville twang, and “Money” recruits a shuffling pace along with intricate guitar work for one of the best tracks present. “Gospel Of The Road” finishes the record just as timeless as it started, with vivid storytelling and a bare acoustic guitar accompanying the graceful exit.

Jonas flirts with honky tonk, jazz and, of course, country and Americana with Lucky, Revisited, and even if you’ve heard these songs before on her earlier work, they’re reborn here with plenty of mature, sophisticated and fine tuned fun.

Travels well with: The Lone Bellow- Walk Into A Storm; Ryan Culwell- Flatlands

Blossom

Self-Released, 2019

8/10

Listen to Blossom

A quickly rising Nashville artist, the Ohio born Karissa Ella delivers 6 tunes of breezy and timeless melodica on this 2nd EP of country-pop sounds.

“Vacay” starts the listen with strummed acoustic guitars and pop melodies as Ella’s sweet pipes put a nice sugary coat on the country influenced tune, and “Intoxicating” follows with hand clapping fun in a playful setting.

Elsewhere, “Rose All Day” illustrates a more diverse angle for the young songstress with an elegant, easy listening track, and the more sparse “More Like Her” showcases her youthful and flawless pipes with strategic pedal steel. The quick listen ends on “Levi Jeans”, where a universal memorableness in the anthemic country-pop tune could make Ella a household name.

Certainly inspired be legends like Carrie Underwood and Shania Twain, Ella holds her own well across this brief listen, and it shouldn’t surprise anyone if her name is spoken alongside those luminaries in the near future.

Travels well with: Gretchen Wilson- All Jacked Up; Miranda Lambert- Evolution

Magnetic Moves

Symphonic, 2019

8/10

Listen to Magnetic Moves

Formerly handling the keyboards and vocal harmonies with the band Houndmouth, these days Katie Toupin is going the solo route, and she’s bringing much talent and adventurousness to the table.

The title track starts the album with Toupin’s engaging, smokey vocals on an upbeat, stylish version of today’s indie-rock where key and guitars are used strategically, and “Run To You” follows with a calmer setting on folk influenced sounds and subtle reggae nods.

Elsewhere, “Real Love” brings in much atmosphere where acoustic guitars and an orchestral backdrop add much to the tune, while “The Hills Are Calling” relies on a precise rhythm section in the cautious, pop influenced highlight.

Near the end, “I Need You” finds the songstress getting playful in mysterious and rhythmic ways with traces of dream-pop , and “Back In Time” ends the listen with some warm pedal steel on the country influenced exit that radiates beauty.

Though her previous band was well known for their indie-rock influenced Americana, on her own Toupin spreads her wings into many genres in soulful, sometime quirky and always thoughtful ways. Perhaps most closely sounding rooted in ‘70s ideas, this is a debut solo effort not to be missed.

Travels well with: Harry Nilsson- Pussy Cats; Moon Taxi- Daybreaker

Things I Don’t See

Self-Released, 2019

9/10

Listen to Things I Don’t See

Though Kevin Daniel’s musical career started out with piano and saxophone and playing music on the jazz and blues side of the equation, he’s played in several bands across the entire spectrum of sounds. These days he spends quite a bit of time behind a guitar and at the front of the stage on a flourishing and quickly rising solo career.

After the opening groove friendly and rock friendly “City That Saves”, “Used To Be” recruits spirited guitars in a warm, rootsy rock setting. “Pour Me A Drink” finds a nice place to reside amid alt-country and blues sounds, while “Jupiter” showcases Daniel’s gritty yet tuneful pipes on a country tinted highlight.

Near the end, “22” illustrates Daniel’s adeptness with folk influenced strumming, and “Time To Rise” delivers a raw, acoustic strummer with subtle yet effective pedal steal. “All I Need” ends the listen with some Nashville influenced fun with rural melodies and smooth vocals.

Daniel has already released a pair of exceptional EPs, and this first LP solidifies the Brooklynite as one of the most interesting and unpredictable songwriters in today’s Americana scene.

Travels well with: Jason Isbell- The Nashville Sound; Butch Walker- Stay Gold

Gravity And Friction

Big And Just Little, 2019

9/10

Listen to Gravity And Friction

The (mostly) Montana outfit return with a 3rd album, and much like everything King Ropes has done it’s difficult to categorize, but easy to enjoy.

“Saint Peter” starts the album soft and mysterious with an ambient version of Americana influenced indie-rock, and “Butterfly Joint” follows with a mix of strings and loud guitars in a quirky alt-rock meets art-rock meshing.

A listen where each song explores different territories, “California Stars” takes on garage rock ideas with plenty of exploration, while “Brown” recruits spoken word and orchestral moments in a psyche-rock package.

Near the end, the title track finds the quintet flirting with desert rock on an unclassifiable highlight, and “Giacomo’s Assistant” offers strings in a dark, moody, adventurous journey. The record ends on “These Days”, where ambience and texture invade the atypical twang.

In the hands of many others, an approach like this would be a fumbling mess. However, when King Ropes take it on, we get unconventional melodies, unique arrangements and a creativity that runs parallel with names like Lou Reed and Stephen Malkmus.

Travels well with: The Velvet Undergound- Loaded; Wilco- Yankee Hotel Foxtrot

Dead Eyes

Self-Released, 2019

9/10

Listen to Dead Eyes

A jazz-punk trio from Birmingham, Alabama, on this debut the young KinZie outfit play like seasoned vets and birth a unique version of indie-rock that’s as innovative as it is memorable.

“Heavy Head” gets the LP started out with a bouncy, intricate approach that’s full of math-rock tendencies and a whole lot of melody, and “Love Is A Chemical” follows with a more subdued setting that’s full of crisp instrumentation and dynamic interplay between the three.

An album where each tune brings new surprises, “The Process”recruits a darker feel with a Joy Division like quality that’s adventurous and quirky, while “Dead Eyes” trims the pace back to a J Robbins-esque moment of post-punk beauty.

The back half of the record shines, too, with the crunchy alt-rock of “Brutus”, the shimmering pop-influenced “Wicked Ways” and the cautious, very jazz friendly “Catharsis”, which is a highlight in a listen where each tune is first rate. “Oh Well” ends the affair percussively strong with firm guitar work on an ominous exploration into their vast skill.

Punk, indie, grunge fans and, really, anyone with an ear for unconventional rock sounds will likely find Dead Eyes as fascination as i do. Easily one of the year’s best records, I’d get on board now, cause they these guys are going to be everyone's new favorite thing soon.

Travels well with: Minus The Bear- Omni; The Dismemberment Plan- Change

Simply Miraculous

Self-Released, 2019

8/10

Listen to Simply Miraculous

An educator at Brigham Young University, Kristen R. Bromley holds a Doctorate in Musical Arts, and a Masters in Jazz Studies, and with Simply Miraculous she puts her immense talent on display alongside a pair of esteemed musicians across folk and blues inspired jazz sounds.

The title track gets the listen underway with intricate playing from Bromley as Matt Larson (bass) and Jay Lawrence (drums) back her up with fluid precision, and “The L’s Are Si”llent” follows with a calm groove that resides in calculated elegance.

Further along, “Winter Sunrise” moves from sparse and moody to a quicker, danceable pace, while “Rhythm I’ve Got…”Quarky” As It Maybe” is indeed the most quirky tune here were Bromley and company manipulate melody with great results. The disc ends on “I Know My Redeemer; He Lives!”, where Bromfield’s soft and agile guitar guides us through a warm, reflective exit.

An album that almost never happened after Bromley suffered an upper arm break that came with nerve damage, this debut album is nothing short of a miracle after being told she likely only regain a small amount of use of her hand and arm. Though we don’t want to diminish the contributions from Larson and Lawrence, Bromley’s acrobatics on guitar are nothing short of brilliant here, and alone are worth the price of admission.

Travels well with: Larry Corban- Emergence; Coniece Washington- Shades Of Shirley Horn

Way I Am

Mensch House, 2019

8/10

Listen to Way I Am

A California born and raised songstress, Lea Love brings her Japanese, Hawaiian, and Samoan heritage into some very thoughtful and eclectic tunes that are shaped by her life experiences.

The title track starts with Love’s expressive vocals, where cultured soul and pop ideas come into the melodic and breezy formula, and “One Too Many” follows with hints of reggae in the island smooth track.

Further along, “No Good At Love” has the songstress entering romantic territory with finger snappin’, cautious fun, while “No Feels” brings us a percussive heavy, upbeat and bouncy excursion into her universal pop prowess.

Near the end, “Set The Mood”, with Jemere Morgan, punctuates the mood with a graceful duet of stylish, club friendly sounds, and “Murdera” ends the EP with more traces of reggae in Love’s calculated and flawless delivery.

An artist who has been writing songs since the age of 10, Love’s strategic use of R&B, reggae, soul and pop comes together for an extremely enjoyable and memorable listen here.

Travels well with: Kelly Hafner- If It’s Love; Amy Winehouse- Frank

Illuminations

Self-Released, 2019

8/10

Listen to Illuminations

At just 23 years old, Luke Underhill is making quite a name for himself with his strong songwriting prowess and exceptional skills with the keys and guitar, and this sophomore EP continues his fluid meshing of country, rock and pop sounds.

“Long Way Home” starts the quick listen that builds from a gentle introduction to a fuller anthem of rural ideas mixed with vibrant melodies and “Yet Again” brings grace and sophistication to a pop influenced highlight.

The back half of the listen offers “She May Be”, which is a vocally strong country tinted version of today’s pop, while “Rooftops” brings bright keys in a busy display of melody with strings. “Katie’s Song” ends the album with a ballad like setting of soft guitars and calm vocals as the backdrop recruits orchestral ideas into a subtly powerful finish.

Though he’s a youngster, Underhill delivers like an old soul, and his piano focused tunes unfold like a seasoned vet. Don’t forget his name, cause we’ll all be hearing a lot more about Luke Underhill for many years to come.

Travels well with: Gavin DeGraw- Free; Ben Folds- Way To Normal

Lyn Stanley’s Favorite Takes: London With A Twist Live At Bernie’s

ATM, 2019

8/10

Listen to Lyn Stanley’s Favorite Takes London With A Twist Live At Bernie’s

The esteemed swing singer is no stranger to taking risks in her career, and here Lyn Stanley delivers a direct to disc recording that bypasses magnetic tape and goes straight to analog.

“Route 66” starts the album with a light jazz setting of agile percussion and plenty of rhythm as Stanley’s smooth vocals guide the way, and her version of Springsteen’s “Pink Cadillac” has the songstress entering rhythm and blues territory with lively results.

Further on, Stanley gets emotional with the heartfelt “Lover Man”, while the vocally sublime “Love Letters” truly captures the depth of her singing abilities. Deeper cuts include the intimate “Body And Soul”, and the listen ends with “In The Still Of The Night”, where much attention to groove finishes the affair.

If you’re paying attention, this is Stanley’s 2nd nod to Julie London as she released London Calling not too long ago, and her unique recording process here really adds to the genuine experience.

Though she may have gotten a late start in the music world, Stanley is making up for it quick, already winning Female Jazz Vocalist Of The Year in 2018, and those inimitable pipes again make Live At Bernie’s mandatory listening for jazz enthusiasts.

Travels well with: Julie London- Sophisticated Lady; Diana Krall- The Look Of Love

Watching The Detectives Guitar Noir III

Free Will, 2019

8/10

Listen to Watching The Detectives Guitar Noir III

If you’ve been following Mark Doyle’s esteemed career, you might recall that Guitar Noir was originally released 20 years ago. This time around, Doyle revisits the concept with emphasis on detective and spy theme songs, as well as a couple tunes outside the theme that were too good to not include.

“Detectives Medley” starts the listen with interpretations of “Watching The Detectives” (Costello), “Get Smart” (Szathmary), and “The Untouchables” (Riddle), as dynamic interplay between the rhythm section and Doyle’s meticulous guitar work add mystery and much intrigue to the affair.

Further along, “Lost Letter” (Previn) recruits blues spirited guitar work in the emotive rocker, while “American Drinks And Goes Home”, one of the two songs that isn’t detective based, has Doyle reworking the Zappa tune with elegance and a soothing quality that approaches jazz.

Deeper cuts bring us the Doyle original “Noir Alley”, which is a hushed and cryptic tune with brushed percussion and a memorable bass line, and the string heavy “It Takes A Thief” (Grusin), where an orchestral angle flows alongside meticulous guitar work and aching cello. “Everytime” (Cole) ends the listen with grace and six string acrobatics from Doyle in a more calm but no less impactful setting.

Doyle’s resume is impressive, starting with Jukin’ Bone, who were signed to a major label when he was still a teenager, and he currently fronts Mark Doyle & The Maniacs. An artist who has done pretty much everything one can do in the business, this cinematic, instrumental cop-jazz might seem like a very niche idea, but will certainly be enjoyed by anyone who appreciates ‘60s soundtracks and guitar focused instrumental records.

Travels well with: Jeff Beck- There And Back; Bill Frisell- Big Sur

High Water Line

Self-Released, 2019

8/10

Listen to High Water Line

Mark Oblinger has spent his entire accomplished career just to the side of the spotlight, acting as a touring musician, producer and songwriter. Here, with High Water Line, the veteran artist is front and center on a dozen tunes that are brimming with adult pop and rock ideas that are always cautious and sometimes even intimate.

The title track starts the listen with a calm, warm setting of elegance and organic musicianship, and “Judgment Road” follows with a firm Americana angle with plenty of rhythm and groove.

Near the middle, “Little Bird” brings us into upbeat, hand clapping, harmonica fun on a bluesy tune, while “I Say Love” steers the record into ballad territory, with a sophisticated, cultured and hushed highlight.

Deeper cuts offer us the melodic folk-rock of “Poet In The Corner”, the lush and agile “Hold Me Tonight”, and the album closer, “Love Is”, where keys take focus on the expressive and romantic exit.

It’s no surprise that Oblinger has 5 Emmys to his name; the troubadour delivers timeless sounds that are capable of reaching jam band status just as they are spare indie-folk. A fine debut this is, and certainly worth the wait.

Travels well with: Jackson Browne- Hold Out; Paul Simon- Graceland

Losing Things

Self-Released, 2019

9/10

Listen to Losing Things

A singer-songwriter and multi-instrumentalist from the Twin Cities, Mark Schirmacher brings the long standing tradition of timeless, genuine and heartfelt rock’n’roll to his poetic and sophisticated album that recruits a small handful of talent who take on banjo, horns, keys and even violin.

“Tomorrow” gets the listen started with strings before quick acoustic guitars enter as Schirmacher’s smooth, warm vocals invade the opener, and this approach follows in the groove friendly and folk ideas of “Study Of Love”, as well as the fuller orchestral sounds of “It’s A Dream”.

Near the end, the acoustic sounds of “Crazy Fool” parallel the greatness achieved by other Minnesota legends like Dylan and Westerberg, and “Losing Things” puts Schirmacher’s guitar skills on full display and even brings in whistling and a larger presence behind the drum kit.

Certainly bringing to mind other Minnesota greats like The Jayhawks or Soul Asylum, Schirmacher’s work is light and breezy, but certainly very meticulous, articulate and full of imaginative melodies and relatable storytelling. Don’t sleep on Losing Things; it’s one of the best singer-songwriter albums of 2019.

Travels well with: Paul Westerberg- Folker; Dave Pirner- Faces & Names

Blur

Self-Released, 2019

8/10

Listen to Blur

Though her 4th studio release may be a short one, Maureen Toth leaves quite an impression with her strong song craft and timeless folk-rock ideas on Blur.

“Blur” starts the EP strong with Toth’s pretty singing against cautious, elegant instrumentation, and “Fundamental” follows and finds its way into ballad like territory with a breezy folk-like approach.

Further along, “Deep Dark” leads sparse and raw before building into a mysterious and a melodic Americana anthem, while “Siren” puts her powerful vocals on display in a darker setting of rootsy rock feelings. “Island” ends the EP with sunny acoustic strumming in a radiant and jangly exit that leaves us wanting more of her charming, and often touching delivery.

Toth manages to get both intimate and playful here, and has the ability to birth loud rock as well as soft reflection, resulting in a gem of an EP that easily warrants repeated listens.

Travels well with: Patty Griffin- American Kid; Shelby Lynne- Not Dark Yet

Amethyst

MCC, 2019

8/10

Listen to Amethyst

The Turkish born, now Los Angeles artist returns with another batch of avant-garde exploration that has Melbreeze and company interpreting tunes by Gershwin, Paul Simon and Billie Holiday, among others.

“Summertime” gets the album off to a stylish, beat friendly affair of club friendly sounds, and “The Sound Of Silence” follows with an initially quieter setting that allows Melbreeze’s rich vocals to shine before moving into electronic areas.

Elsewhere, “Everything Must Change” manipulates mood well with a jazz lounge feeling amid expressive singing, while “Friendless” brings in some bluesy guitars from Oz Noy on one of the best tracks present.

Near the end, “Greensleeves” recruits plenty of instruments on a busy and artistic adventure, and the percussively strong “Hallelujah” gets frantic yet controlled on an example of meticulous fusion with plenty of grooves. “Missing You” ends the listen with a breezy twist on the John Waite popularized classic that does justice to the ‘80s hit.

Although Amethyst was released as an import years ago, it’s more easily accessible with this release, and fans of jazz fusion, strong vocal work and bouts of ambient, experimental ideas will be thrilled.

Travels well with: Oz Noy- Who Gives A Funk; Sara Marlowe- True Stories

Long Beach Calling

Self-Released, 2019

9/10

Listen to Long Beach Calling

And the winner for Best Cover Art Of The Year goes to Mike Jacoby, and, thankfully, the multi-instrumentalist can pen a tune you won’t forget anytime soon, too, as evidenced on this Americana influenced version of the classic album by The Clash.

The title track starts the listen with a raw energy not unlike Strummer and company, where swift strumming and melodic vocals flow with a timeless spirit, and “Here And Now” follows with a bouncy setting that just sounds like Southern California.

Near the middle, “Your Love Song” offers a country influenced, dance friendly affair, while “Know Right Away” has Jacoby channeling his inner Tom Petty with soulfulness and grace.

Deeper cuts gift us the more sparse “BBQ Pit”, and “Play Like Richards” puts a classic rock spin on the romper as raw guitar licks punctuate the mood. “Long Live The King” ends the formal record with a cautious exit before a bonus tune shows up 14 seconds after the album, a technique utilized by some of the legends that inspire Jacoby.

Previously a member in the long running outfit Haymaker, on this 3rd solo album Jacoby brings a varied, highly skilled and rugged rock’n’roll approach to his humble, sometimes humorous and always adventurous tunes that resonate long and far.

Travels well with: Todd Snider- Cash Cabin Sessions Vol. 3; The Rolling Stones- Some Girls

Agua De Luna

Self-Released, 2019

8/10

Listen to Agua De Luna

The husband and wife duo of Markus Sieber and Angelika Baumbach, as Mirabai Ceiba their bi-lingual, nature-esque sounds where strings, horns and flutes are in attendance alongside Baumbach’s harp, keys and harmonium and Sieber’s vocals, harmonica and percussion, flow with much organic beauty on Agua De Luna.

The title track starts the listen with gorgeous singing and twinkling, intimate instrumentation, and “You Are A Song” follows with an equally expressive formula that finds a calm place to reside with classical, New Age and meditative ideas.

Moving along, “We Are The Mirror” unfolds with a sparse delivery of cultured, orchestral charm, while “Silence To Break” offers a dreamy setting of sublime melody.

Near the end, “El Rio” yields a full display of glowing piano work on a hypnotic highlight, and “Luz De La Manana” ends the album gentle and soothing, as keys and strings are intertwined with the dynamic musicianship from the players.

A band named after a tree and a poet and an album title that references water, when you add Baumbach’s Latin heritage to the equation you’re left with a superb record of world devotional music that’s both soul stirring and subtly inspirational.

Travels well with: Shantala- Living Waters; Krishna Das- Kirtan Wallah

808-Bit Music

Self-Released, 2019

8/10

Listen to 808-Bit Music

A debut album that’s tagged as ‘8-bit chiptune hip-hop’, this Texas raised artist whose name references Pokemon brings a heavy ‘80s influence that even samples various video games.

“Fanfare” gets the listen off to an eclectic start with a soulful hip-hop approach, and “Crystal Castle” follows with buzzing synth in a dreamy affair with an interesting manipulation of electro-pop ideas.

The rest of the album is equally adventurous, with the ultra-melodic and quirky pop of “Los Shambeles”, while the stylish “TX.RR” recruits a dense beat to a dance friendly tune.

Near the end “The End” finds the listen entering a darker territory that’s no less impactful while taking on a cinematic quality, and “Genesis” exits the listen with playful keys and expressive vocals that touch on R&B.

An ideal listen for fans of both hip-hip and Nintendo, Missingno. finds a charming niche with his ‘chip-hop’ prowess that’s easy to embrace and hard to forget.

Travels well with: Tyler The Creator- Wolf; Groundislava- Frozen Throne

The Last Waltz

Blind Owl, 2019

8/10

Listen to The Last Waltz

Recorded live at the Belly Up Tavern in Solano Beach, California, Mrs. Henry pay homage to The Band by performing The Last Waltz 40+ years after it initially happened.

“Up On Cripple Creek” starts the listen with playful classic rock where multiple voices, keys and spirited guitars ensure a good time, and the rugged yet melodic “The Shape I’m In” continues the formula with meticulous precision.

A double disc or 3xLP, there’s much to take in here, but with the horn filled fun of Life Is A Carnival”, the soulful, key driven “The Weight” and swampy blues of “Mannish Boy” included, the record never out welcomes its stay, as Mrs. Henry touch on many variations of rock’n’roll.

Deeper cuts like the emotive and percussion heavy “Dry Your Eyes”, as well as the propulsive rock’n’roll of “Baby Let Me Follow You Down” are late album highlights, and the set ends on the rollicking “Don’t Do It” while achieving the feat of being 30+ tracks and still leaving us wanting more.

A massive amount of work went into this involving preparation, as Mrs. Henry certainly understood how important it was to do this right and respectfully. Along with musicians from bands like The Schizophonics, Sacri Monti and Louise XIV, this isn’t just a tribute, it’s a celebration of a legendary band who absolutely inspired Mrs. Henry and countless others, but whose spirit is captured well here.

Travels well with: Creature And The Woods- J Tree; Little Feat- Dixie Chicken

Mandarava Rose

Galtta, 2019

8/10

Listen to Mandarava Rose

Though it’s been nearly a decade since Natalie Rose LeBrecht released music, she’s stayed quite busy with meditation, hypnosis, and the concept of space. With these influential ideas in mind, Mandarava Rose finds the artist entering new avenues of her psyche-influenced experimentalism.

“Rishi Stars” starts the listen with twinkling synth and moody keys as LeBrecht’s breathy voice settles in nicely to the spacey, calming setting that even includes flutes from multi-instrumentalist David Lackner, who also handles bells, synth and brass on the record.

The remainder of the album is equally enchanting, including the emotive and ethereal ten minutes of “Rosebud & Lotus”, the vocally expressive and subtle pop influences of “Lost”, and the indeed dreamy and hypnotic atmosphere of “Autonomy Dream”.

At the end, “Ocean Of Ah” brings a strong psychedelic impulse on an angelic tune with quivering saxophone from Lackner, and “Hear Today” ends the affair with chilling vocals and strategic sax in the contemplative and moving exit.

An intimate and adventurous listen, LeBrecht places atypical avant-garde jazz moments in this highly unique listen, where traces of folk and classical invade the sonically intriguing delivery. Let’s hope that Rose has more art coming soon; 9 years would be too long to wait to hear more from this ingenious mind.

Travels well with: Phillip Glass- Passages; Alice Coltrane- World Galaxy

Vertigo

Dalton, 2019

9/10

Listen to Vertigo

After a 4 year break from releasing music, Texas resident Nicholas Altobelli is back with his self-described ‘sad songs’ that utilize country, folk and rock in imaginative, intimate ways.

“Red, White & Blues” starts the album with warm keys and a breezy setting of melodic Americana that touches on earlier decades, and “Thunderstorms” follows in a quieter display as Altobelli’s expressive vocals punctuate the atmospheric tune.

Elsewhere, “Midnight Songs” offers a bare delivery of singer-songwriter excellence with a smart, poetic touch, while “Odd Numbers” lets keys guide us through the thoughtful and building track where backing female vocals add much to the affair.

Deeper cuts bring us the folksy strumming of “Tell Me What I Got To Do”, and the gentle, lullaby-esque “Go To Sleep”- a leftover tune from a Children’s record. “Trains” ends the listen hazy and agile, as the introspective instrumental manages to be both glorious and downcast, with much sparse beauty present.

The past few years have involved much change for Altobelli with a new career and a divorce to sort through, but thankfully this musician is back to his art, and it’s some of the most pensive, articulate and genuine music being made today.

Travels well with: Bright Eyes- I’m Wide Awake, It’s Morning; Mansions- Dig Up The Dead

Cosmic Flute

Self-Released, 2019

8/10

Listen to Cosmic Flute

The recording moniker of Jacob Rudin, who is a trained pianist and flute enthusiast, as NTHNL he brings Andes flute music into modern day EDM and some variation of classically influenced indie-rock on the appropriately titled Cosmic Flute.

The title track starts with plenty of spacey flute sounds before a soulful groove settles in to the unique landscape, and “Cutchatparri” follows with breezy melodies in a busy display of eclectic skill.

Further along, “Phoenix Tail In The Moonlight” recruits mystery and psyche-rock tendencies in the curious setting, while “Chemtrails” unfolds with a cinematic quality as New Age and electro-pop collide in the best ways.

Near the end, “Syncretism” offers horns in its busy display of frenzied skill, and “Run Away” ends the listen with vocals as the quirky yet graceful exit reminds us again of just how creative this endeavor is.

Though this is his debut as NTHNL, Rudin was previously a part of Primal Feelings and Sausagemang Soup, and though he brings a wealth of experience from those outfits, Cosmic Flute is indeed an entirely new animal, and one that fans of jazz, fusion, IDM, and electronic sounds that are from typical would benefit from experiencing.

Travels well with: Lina Tullgren- Free Cell; Caroline Kuhn- EP

Reminiscent Moods

Self-Released, 2019

8/10

Listen to Reminiscent Moods

An accomplished listen where Pablo Embon plays all the instruments on the tunes he wrote and produced, Reminiscent Moods brings pop, jazz, folk and fusion ideas into a highly melodic affair.

“All Stars Above” gets the listen started with keys and drums in a swift, soothing environment, and “Getaway” follows with a slower pace in an emotive setting with spirited guitar work.

Entirely instrumental, songs like the playful and intricate “Two Minutes Of Joy” certainly don’t need any singing to keep you engaged, while the moody, dreamy “Ocean Deep” recruits a cinematic quality to the cascading beauty.

Deep in the listen, “Rainy Day” brings a push and pull of elegant tension to the affair, and the album highlight, “Wild Wild East”, is indeed a bit reckless with jumpy keys and a quick pace of frisky sophistication. The album ends on “Out Of Tears”, where brilliant cohesion between the instruments results in sublime jazz fusion.

A musician since the age of 7, Embon’s longevity is apparent in this well crafted, uplifting and dynamic album, and his vast experience from living on 2 different continents and playing in several bands over the years helps make Reminiscent Moods an experience that nearly finds itself in a new genre.

Travels well with: Pat Metheny- Secret Story; Brad Mehldau- After Bach

Radiotango

Zoho, 2019

8/10

Listen to Radiotango

An Argentine composer, arranger and pianist who now calls New York City home, Pablo Ziegler tosses classical and jazz ideas into his tango template here, with an all star cast on hand to help flesh out the 9 originals and 1 reworking.

The title track gets the album off to a graceful yet playful start of cinematic, lush sounds, and “Maria Ciudad” follows with an intricate, contemplative approach with much skill present between the instruments.

Further along, “El Empredado” recruits very cultured rhythm on the retro tango that is one of the album’s best, while “Desde Otros Tiempos” manipulates mood well with glorious precision.

Near the end, “La Rayuela” offers a darker spirit running through vibrant melody, and “Fuga y Misterio”, the lone cover, ends the album with some of best interplay between the cello, bass, keys and bandoneon.

It’s no surprise that Ziegler is a Grammy winner, as he brings his rich history to the listening experience here with plenty of soul, precision and timelessness, successfully putting a new spin on early sounds.

Travels well with: Astor Piazzolla- Summit; Paquito D’Rivera- Blowin’

Summarisk Suite

Apollon, 2019

9/10

Listen to Summarisk Suite

More greatness from Norway, Panzerpappa describe themselves as ‘progressive rock with a friendly face’, and this 7th album brings us more of their avant-garde and instrumental prowess

“Algerisk Symfo” gets the album off to a mysterious start with an ominous setting that segues into thriving prog-rock, and “Belgerisk Impro”, which was improvised, complements the atmosphere well with a cinematic quality with saxophone guiding the way.

Even though there’s just 6 tunes present, they all leave quite an impression, especially the atypical rhythm and driving pace of “Permutert Panzerrock”, though “Revidert Malist” is nothing to spit at either with its strategic bells and haunting melodies. The album ends on “Seriell Ballade”, where sparse keys lead into calculated saxophones and building guitar work that soars in all sorts of complicated and enthralling ways.

The band scrapped an earlier effort to start from scratch for this album, sometimes using old templates and other times building entirely new ones, and it’s clear they made the right choice as Summarisk Suite is vocal-less genius that runs parallel to some of the greatest prog-rock records of all time.

Travels well with: Happy The Man- Crafty Hands; King Crimson- Discipline

Jungle Cop

Light Organ, 2019

8/10

Listen to Jungle Cop

The brainchild of multi-instrumentalist Kyle Woolven, this Canadian troubadour took the DIY route with this eclectic album, recording the entire affair at home.

“Invisibility Cloak” starts the listen with a creative and adventurous version of electro-pop meets indie-rock, and “Door Knockers” follows with acoustic guitars and a bright setting of melody with falsetto vocals.

Further on, “A Mermaid Season” is full of buzzing synth manipulation, while “Underwater Talkers” follows that lead with a busy display of ‘80s nods with plenty of dynamic interplay between the noisemakers.

Near the end, “Weary Of The Clown” is a meticulous and thriving display of massive skill, and the quirky, warm and jangly “My Baby” exits the album as fluid and memorable as it started.

Despite Woolven’s process of throwing ideas into each song and working on them bit by bit before finishing and moving to the next one, Jungle Cop flows seamlessly with a strong sense indie-pop prowess that warrants repeated listens.

Travels well with: MGMT- MGMT; Neon Indian- Psychic Chasms

Finch

Thirty Tigers, 2019

8/10

Listen to Finch

The 6th album from Andy Baxter and Kyle Jahnke, i.e. Penny & Sparrow, has the esteemed Austin duo telling moving stories about loss and faith, among other personal topics, on a heavily soul and R&B influenced affair.

“Long Gone” starts the listen with smooth, soulful vocals in a slick setting of pop flavored R&B, and “Eloise Preamble” follows with a bare a capella delivery that flows into “Eloise”, where acoustic instruments enter the cautiousness with soaring falsettos.

Moving along, the folky “Bishop” recruits strings for a breathy and hushed album highlight, while “Recuerda” continues with a romantic spirit and gorgeous instrumentation with strategic synth.

Near the end, “Stockholm” utilizes acoustic guitars in a snappy, playful moment and “It’s Hysterical” offers a slow burning affair of sublime beauty. “Gumshoe” ends the listen soft and agile, as expressive vocals suit the articulate and emotive exit perfectly.

While their early work had the pair sitting comfortably in the indie-folk realm, Penny & Sparrow have covered much ground in their prolific career, and here 10 years of touring pour out in a contemplative listen of adept self-awareness.

Travels well with: Novo Amor- Birthplace; Tall Heights- Neptune

Local Motion

LAW, 2019

8/10

Listen to Local Motion

Pepper are back with their 8th album, and much like everything they’ve done, their reggae, dub and ska-influenced punk rock sounds are full of uncontainable energy and light subject matter that’s often as laid back as their music.

“Warning”, with Stick Figure, starts the listen with soothing vocals and a mellow groove, and “Carnaval”, featuring Henry Fong and Jinco, follows with bright horns and a full setting of reggae playfulness with precise bass work.

Elsewhere, “Candy” has the band settling into a moody groove of sugary sweet melody, while “Brand New Day” offers us an upbeat atmosphere of pop influenced fun to their breezy island formula.

Near the end, “Goddaugther”, where E.N. Young lends his talents, is the most sentimental tune, and “My Holiday”, with Micah Brown (of Iration), ends the listen with warm horns and lively percussion on one of the fullest tracks that will certainly get your body moving.

Probably considered an institution now in the area of punk/reggae/ska sounds, for over two decades the trio of Pepper have been maturing in all the best ways, and Local Motion unfolds like the perfect summer album.

Travels well with: Slightly Stoopid- Everyday Life, Everyday People; The Green- Black & White

The Road To Zion

Omad, 2019

8/10

Listen to The Road To Zion

Though the name Peter Lewis may not ring a bell, most of us will have heard of his band Moby Grape, who have been active in every decade since the ‘60s. Taking plenty of nods from his seminal band, on this solo effort Lewis has his spirit firmly planted in the ‘60s, but injects plenty of modern ideas as well.

The title track gets the album started with acoustic guitars and soft vocals from Lewis that seem familiar and comforting, and “Down By The Water” follows with a dusty country influence in the memorable tune.

Further along, “When I Think Of Me” brings in a warbly Americana feeling to an introspective moment, while “In This Place”, which is one of the record’s best, offers a bright, jangly moment of pop influence.

Deeper in the listen we get “A Song For Kris (This Memory)”, a folk influenced moment of graceful beauty, the highly rhythmic “When I’m Gone”, and the harmonica and key friendly “Only A Fool”. “For The Gypsy” ends the listen calm and agile, as Lewis gets intimate and wise.

Sure, it’s only his 3rd solo album, but Lewis has been behind so much inspiring music and his vast experience helps make The Road To Zion on par with the greatness of anything he’s done, both on his own or with Moby Grape.

Travels well with: Buffalo Springfield- Last Time Around; The Byrds- Farther Along

Play It Twice

Self-Released, 2019

8/10

Listen to Play It Twice

Spearheaded by songstress Robin Lyn Treger, The Phoenix Project brings some serious talent in addition to Treger, including Steve Starger and Dave Stoltz, among others, as the all star ensemble deliver 4 strong, timeless Americana tunes here.

“(I Put My) Hand In The Fire” starts the EP with warm, soulful vocals in a groove friendly opener that flirts with blues and country sounds, too. “Vagabond Heart” then follows with a ballad feel, as emotive qualities infiltrate the rootsy track.

The last two tunes shine bright, too, and include the breezy melody and tropical backdrop of “Play It Twice”, where rhythm is present in spades, and the cautious yet playful exit, “The Way It Was”.

This Connecticut outfit cover a lot of bases here, especially some of the more expressive and sophisticated genres near Americana, and it should be very apparent to anyone who hears this EP that 4 tunes is just not enough. The best advice is in the album title, while we impatiently wait for an LP.

Travels well with: Tedeschi Trucks Band- Let Me Get By; Bonnie Raitt- Luck Of The Draw

Problem Child

Pirates Press, 2019

9/10

Listen to Problem Child

The Philadelphia mothers returns with more fun for the whole family, and certainly the most fun for fans of the Ramones as the ladies put their motherly spin on classic tunes from Joey and company.

“Gritty Is A Punk” starts the quick listen with buzzing guitars, melodic yet raw vocals, and a speed that stays on par with Joey and the crew on this anthemic pop-punker where Judy is swapped out with Philadelphia mascot Gritty, and “Boogie Not Snot” follows with a lightning quick tempo where rapid fire drumming matches the pace of the original (“Blitzkrieg Bop”).

“Rockaway Beach” finishes out the 7” with, thankfully, more of the same, as the quartet retain the power of the original with pretty yet punk singing on the lone tune that they don’t tweak much.

Though they’ve just released 5 songs now since their inception in 2017 (a split with Dad Brains came out in 2018), each one has been a gem and I feel quite confident speaking for everyone when I ask when is the LP?

Travels well with: The Donnas- Spend The Night; Ramones- Rocket To Russia

Blinded By The Sun

Self-Released, 2019

8/10

Listen to Blinded By The Sun

A Canadian outfit who had a strong 2018 with some impressive awards, international touring and opening for high profile bands, this 3rd album from Relic Kings finds the quartet flourishing further with their eclectic and creative rock formula.

The title track starts the listen and wastes no time diving right into a warm, timeless meshing of soaring vocals, crisp instrumentation and pretty textures, and “Hypnotize” follows with muscular guitar riffs in a louder setting of tense rock.

Elsewhere, “Leading Me Astray” offers a charged and rhythmic affair of precise sounds, while “Stay Tonight” shifts gears into piano balladry with much elegance.

Deeper cuts bring us the thundering sounds of “Feeling Good”, that are hypnotic and crunchy in all the best ways, and “Push Me” recruits some metallic nods in a thicker, powerful atmosphere. “Are You Ready” ends the listen on a high note, with an ‘80s hard rock approach that puts the exclamation point on the strength of this record.

Canada has never been short on fantastic rock bands, and it wouldn’t surprise me one bit if Relic Kings are one day spoken in the same sentence as The Tragically Hip or The Weakerthans, cause Blinded By The Sun is a superbly skilled listen that hints at even better things to come.

Travels well with: The Trews- Civilianaires; Arkells- Morning Report

Jade

Om, 2019

8/10

Listen to Jade

A recently formed trio from Atlanta comprised of siblings Sean and Sami Michelsen, as well as Bill Zimmerman, on this debut the three bring their collective strengths to a very strong and memorable trip into electro-pop fun.

“Games” gets the listen off to a firm start of their crisp and slick electro-pop formula where smooth vocals complement the sleek instrumentation, and “Design” follows with a vocally expressive, more subdued version of their dreamy, pop prowess.

Further along, “Control” has the trio exploring darker textures of club friendly sounds, while “Midnite” resonates with a soulful aspect to the dynamic interplay between the trio.

Near the end, “Ghost” offers manipulated vocals in the highly creative tune, and “Talk” ends the quick listen with current indie-rock influences amid the dance friendly landscape.

While there’s no shortage of electro-pop outfits today, Reptile Room show much promise as far as standing out from the pack with smart wordplay and engaging, memorable musicianship that’s delivered with precision.

Travels well with: Walden- The Static; Magic Wands- Abrakadabra

A Thousand Shades

Relief, 2019

8/10

Listen to A Thousand Shades

Though Robert LaRoche’s name may not be familiar with you, you might recognize his long running on and off again band The Sighs, who achieved some mainstream success in the early ‘90s with their single “Think About Soul”.

The follow up to his well received 2015 debut solo album, this EP has the troubadour in peak form across well thought and eclectic sounds that certainly touch on his past, but also embrace the sage-like quality of the veteran musician.

“Seeds Of Doubt” gets the album started with a sophisticated and timeless appeal where fiddles, banjos and guitars all meet at a very warm place, and “Drawn To You” follows with a fun pop-rock spirit that sounds like it could have been penned in any decade since the ‘70s.

In the middle, “A Thousand Shades” brings a moody, reflective setting that takes nods at alt-rock, while “Jet Blue” recruits a playful feeling of multifaceted rock’n’roll with a stunning guitar solo. Near the end, “Too Much At Once” finds the EP in ballad territory with heartfelt singing with aching violin, and “The Dream Is Gone” ends the quick listen with punchy rhythm on a vibrant exit of melodic energy.

The good news is that The Sighs are back playing and recording. The great news is that LaRoche is still finding time for solo work as well, and his dreamy, baroque-pop inspired song craft is certainly worth several spins.

Travels well with: Del Shannon- Drop Down And Get Me; The Beach Boys- Pet Sounds

Tell The Truth & Shame The Devil

Welding Rod, 2019

9/10

Listen to Tell The Truth & Shame The Devil

The impetus for Rod Picott’s 12th album was, unfortunately, a serious health scare that could have left the longtime guitarist and singer-songwriter in dire trouble. Thankfully, the Nashville resident is in good health now, although back surgery coincided with his health issues, further giving Picott a new perspective on his art.

“Ghost” gets the listen started off with comforting acoustic strumming and Picott’s vocals that are both warm and rugged, and “Baililng” follows with a folk spirit running through the organic beauty that’s reflective and lacking all pretense.

Further along, “Mark” has Picott delivering poignant storytelling about a young man who took his own life, while “Too Much Rain” offers a hint of gospel with harmonica in the haunting, folk-ish tune.

The second half of the listen flows with the blue collar spirited picking of “A Beautiful Light”, with births much intimacy and grace, the authentic “80 John Wallace” and the raw “Sunday Best”, where Picott finds himself emitting a sage like delivery. “Folds Of Your Dress” ends the album with his imperfectly perfect vocals and subtly powerful execution that defines the entire listen.

Recorded in his home, alone and with no engineer, this is as raw as it gets, as Picott’s captures the human experience stripped back to its basic form, with just his poetic songs, guitar and harmonica- which, really, is all he needs. Though he may not be the most well known troubadour, Picott is certainly one of the best of this generation, and deserves to be have his name spoken alongside Springsteen and Dylan.

Travels well with: Elliott Smith- Either/Or; Justin Townes Earle- The Saint Of Lost Causes

Serenity

Galtta, 2019

9/10

Listen to Serenity

This 3rd effort from jazz luminaries Ron Thomas and John Swana has Thomas handling keyboards while Swana holds down EVI duties (Electronic Valve Instrument) across 4 tunes that twist and turn with synth fueled maneuvering that rarely sounds like it originated on earth.

“Message” starts the listen with an ‘80s ambience that gets spacey and cinematic with a charming sense of mystery, where waves of synth and a dreamy setting make these 10 minutes soar by, and “Rainforest” follows with a sci-fi feeling where ambient noises resemble animals and the atmosphere turns darker.

The last 2 tunes keep the creativity high and the unclassifiable landscape even higher. While “Foundation” sounds it could soundtrack a space craft landing on another planet in another dimension with its artistic restraint, “Serenity” closes out the affair indeed with a calm offering of meditative, soothing electronica manipulation that few could replicate.

An amazing collaboration that was actually recorded in 2007, Thomas and Swana were and still are way ahead of their time, as their musical vision far exceeds just about anything else being made.

Travels well with: Herbie Hancock- Thrust; Ryan Kisor- The Sidewinder

Low Class Songs For High Class People

Self-Released, 2019

9/10

Listen to Low Class Songs For High Class People

While there are certainly legions of bands residing in Nashville today, none are quite like The Royal Hounds. Now armed with Brazilian guitar virtuoso Matheus Canteri, frontman and slap bassist Scott Hinds adds yet another dimension to his wild roots rock on their 3rd album, Low Class Sounds For High Class People

“The Walk” starts the listen with high energy fun as organs complement the retro rock’n’roll spirit, and “Whackity Do” follows with thumping percussion in the festive, quirky sing-along.

Near the middle, “Pororoca” offers us toe tappin’, surf-rock fun in the instrumental that sounds like it could soundtrack a spy movie set in a distant land, while “Pizza Party” certainly could be played loud at a party, but you’ll need a dance floor in addition to toppings.

Towards the end, “Manteiga Braganca” recruits guitar acrobatics and cultured rhythm from Canteri in the complicated instrumental, and “Chinese Buffett” puts a roots rock and rockabilly spin on a story about a trip to devour sweet and sour chicken. “Ghost Riders In The Sky”, the lone cover, finishes the listen on a busy tune with breezy melodies and expressive vocals that again reiterate how much talent is on hand here.

An eclectic outing that touches on honky-tonk, psychobilly and many ideas from rock’n’roll, though much of the subject matter is humorous, The Royal Hounds are seriously talented, unique and, quite honestly, one of the most interesting outfits today.

Travels well with: The Reverend Horton Heat- Liquor In The Front; Rocket From The Crypt- Hot Charity

Hard Luck

Round Hill, 2019

8/10

Listen to Hard Luck

Royal Teeth made quite a dent in the indie-pop scene when their debut album landed in 2013, and now 6 years later this follow up LP shows us a more muscular, mature and energetic vision of their pop prowess.

“Never Gonna Quit” starts the listen with bright, melodic sounds where the music is as animated as the vocals, and “Show You What I Can Do” follows with buzzing electro-pop where Tunde Olaniran offers his inimitable pipes on a hip-hop influenced track.

Elsewhere, “It’s Just The Start” recruits a soulful start with processed vocals on a club friendly anthem, while “The Best” will certainly get your body moving with its frisky pace and strong, unrelenting beat.

Near the end, “Unbreakable” quivers with a playful feeling as busy and loud instrumentation infiltrates the album highlight, and “Arrival” ends the listen as robust as it started, where melodic vocals from both genders collide on radiant pop fun.

The last few years have had their ups and downs for Royal Teeth, but here the band sound invigorated, focused and prepared for the best work of their careers. If you weren’t previously a fan of this New Orleans outfit, you will be after a few spins of Hard Luck.

Travels well with: Fitz & The Tantrums- Fits & The Tantrums; The Dig- Moonlight Baby/Afternoon With Caroline

Casual Heaven

Apollon, 2019

8/10

Listen to Casual Heaven

A Norwegian outfit who take inspiration from legends like The Cure and Pink Floyd, Sail By Summer’s William Hut and Jens Kristian inject a very nature-esque approach to their flourishing electro-pop.

“Fetch Your Roses” starts the album with cautious yet sunny indie-rock sounds that are as gorgeous as they are adventurous, and “Facing Dullness” follows with a vocally strong and upbeat blast of melodic and anthemic rock.

Elsewhere, “Corner Kid” offers a breezy and playful album highlight, while “LowLowLow” flirts with electro-pop heavily in charming ways on the retro highlight.

At the end, “Lower Your Voice” recruits a subdued setting of elegant ideas, and “I Can’t Rely On My Memories” ends the debut album strong with a spacey, ethereal and ambient instrumental.

Hut, who has already won a Grammy Award, handles guitars and vocals, while Kristian holds down keys and programming, and together they weave a universally palatable listen of thoughtful, and often moving songcraft.

Travels well with: Subshine- Easy Window; Leland And The Silver Wells- Leland And The Silver Wells

Skye Wallace

Self-Released, 2019

9/10

Listen to Skye Wallace

A Canadian songstress who plays loud, driving and often emotional songs on this self-titled album, though Wallace might be known as someone with a penchant for folk sounds, here the Toronto resident shows vast influences across the rock spectrum.

“Death Of Me” starts the album and isn’t quite as stark as the title implies, as Wallace brings a dense approach to the cautious alt-rocker, and “There Is A Wall” follows with a thumping setting of busy rock and quieter ebbs of fuzzy beauty.

Near the middle, quieter ideas infiltrate the powerful yet subdued “Stand Back”, where Wallace’s guitar and voice are the only tools, while “Body Lights The Way” recruits all sorts of grooves in a retro tune that could fill arenas.

Deeper cuts offer the mysterious “Swing Batter”, that pushes and pulls with tense moments, and “Suffering For You” ends the listen on a dirge like exit of deep bass and raw drumming on a cathartic highlight.

Often times unfolding like a grunge album with much depth, Wallace’s version of folk-rock is laced with punk rock sensibilities, and her classically trained pipes radiate sincerity and warmth on this stunning record.

Travels well with: Jeen- Modern Life; Des Ark- Loose Lips Sink Ships

Hopeless & Addicted

Ambulance, 2019

10/10

Listen to Hopeless & Addicted

I’m pretty embarrassed to say that this was my first time listening to Switzerland’s Slimboy, because, as a longtime fan of all things punk related, this trio parallels the greatness achieved by MXPX, Millencolin or The Ataris and should have already been in my collection.

The title track starts out the EP with a loud and thundering display of gritty melodies and a kinetic rhythm section in the blistering opener, and “‘92” follows with a punky spirit amid a raw execution of anthemic sing-alongs.

Elsewhere, “Hey Brother” recruits fuzzy guitars and alt-rock tendencies that would make J Mascis smile, while the turbulent “Never Let It Die” really showcases the band’s busy, buzzing appeal that flows alongside immediately irresistible hooks. “14.10.15” ends the listen initially sparse but builds into a throbbing, triumphant execution of power and pop.

A fantastic record that embodies all the hallmarks of punk rock, Hopeless & Addicted is nothing if not timeless in its incendiary, reckless and fluid delivery.

Travels well with: The Menzingers- On The Impossible Past; Face To Face- Three Chords And Half A Truth

The Fruit Basket

Schnitzel, 2019

8/10

Listen to The Fruit Basket

Ian Everett and George Miller, the driving force behind Solid Bronze, brought in some serious talent on this debut album, including players in Ween, Morphine, Funkadelic and others, and it sure paid off in this skilled mashing of styles and sounds.

After the groove filled funk and lively basslines of “Papa’s Bug”, “The Invisible Man”, with CLEW, finds the outfit getting soulful with processed vocals that mix talking with bare but impactful musicianship.

Further along, “Bronze Magic” enters jazz like territory with playful brass, while “Midnite Goose” glides with neo-soul and psyche-influenced fun.

Near the end, the highly melodic and retro tendencies of the sax friendly “The Critter Walk” make this one of the album’s best, and the instrumental “Paradise Lounge” flows with graceful, dreamy instrumentation that even brings in a flute. “Like That Ol’ Saying Goes” ends the listen with spirited guitar work and hazy backing vocals in a display of timeless, soothing psychedelia.

Perhaps most closely resembling a funk album, you’ll hear plenty of rock, R&B, gospel, jazz, blues, soul and endless nods to the ‘70s, too, as Solid Bronze come through with an extremely memorable first LP.

Travels well with: Funkadelic- Cosmic Slop; George Clinton- Computer Games

To The Monsters

Self-Released, 2019

8/10

Listen to To The Monsters

A Phoenix outfit who have been plugging away since the late ‘90s, The Spider Hole carry influences as vast as Tom Waits, Primus and Frank Zappa, and birth a highly unusual and eclectic version of alt-rock where each song here is about a different monster.

“Werewolf Biker Bastard (From Shit-Town, AZ)” starts the album with some gothic desert sounds and gravelly vocals in a dusty, hazy setting that builds into some version of rockabilly, and “Still Draw Breath” follows with a variation of alt-rock that’s charged and quite unusual yet enticing.

Further along, “Rock, Your Body” soars with a great balance of power and melody, while “Chomp-Chomp” recruits a dramatic atmosphere of biting vocals and playful instrumentation.

The back half of the album is equally interesting, with the nearly cinematic “Devil By A Nail” and the driving, visceral “The Leviathan Stomp”. The album ends on “Night Of The Nighty-Night Slasher (‘84 Demo)”, which starts out like a soundtrack to a slasher film, before finding a thundering groove of crashing percussion and thriving energy.

Often reminding us of an aberrant version of Calexico on steroids, this 3rd album even comes with a graphic novel that suits the meticulous, unpredictable and unique approach to the ominous formula of The Spider Hole perfectly.

Travels well with: Siouxsie And The Banshees- Peepshow; Pixies- Doolittle

Easy Window

Apollon, 2019

9/10

Listen to Easy Window

The debut album from the Norwegian pop outfit recruits some of the best ideas of the ‘80s and injects them into modern indie-rock sounds on Easy Window, leaving an indelible mark in its all too brief gloriousness.

“Florence” starts the listen with calm, fluent indie-pop with breezy melodies and a soaring atmosphere, and “Your Love” follows and brings a dreamy ‘80s feel where pulsating synth really punctuates the setting.

Further along, “Trust” increases the tempo to quick paced electro-pop fun, while “Shadows” recruits a contemplative feeling with plenty of cautious instrumentation that takes nods to the early days of post-punk.

The back half of the listen stays indebted to earlier decades, too, with the crisp, atmospheric “Stones”, and the moody dance-rock of “Easy”. The quick album ends on “Where Does It Go”, where an adventurous, restrained and warm spirit end on a high note, putting a firm exclamation point on just how strong this first LP is.

Spearheaded by Ole Gunnar Gundersen, formerly of Lorraine, the songwriting legend brings a wealth of talent and experience to one of the year’s best listens.

Travels well with: New Order- Low-Life; Pet Shop Boys- Actually

I Still Get Excited

TVR/VizzTone, 2019

8/10

Listen to I Still Get Excited

A long running tenor sax extraordinaire, Terry Hanck has won multiple blues awards and it’s pretty easy to see why. Armed with an incredible, inimitable set of pipes and a penchant for New Orleans spirited R&B and Chicago blues and soul, as well as Memphis flavored rock’n’roll, he’s not your typical bluesman, and I Still Get Excited isn’t your standard blues album.

“I Still Get Excited” starts the listen right with bluesy guitars, rollicking keys and playful horns on an explosive retro-rocker, and “Smooth Tyrone” follows with a soulful spirit as horns initially take center stage on the glorious display of a frisky boogie vibe.

Near the middle, “Come On Back”, with Rick Estrin, brings a call and response approach with the instruments as the punchy keys and bouncy setting make this one of the best, and “Why People Like That?” brings a heavier percussive influence on the cautious rocker.

Towards the end, “Spring”, with Tracy Nelson, offers a duet of the most soulful kind, and “Feel So Bad” ends the listen with a lively beat, jazz undertones and plenty of warm guitar licks.

Though there’s 6 covers against the 5 originals, Hanck and his band make every tune their own, as the aptly titled record moves, shuffles and shakes with a contagiousness that’s easy to admire and hard to forget.

Travels well with: King Curtis- The New Scene; The Fabulous Thunderbirds- Tuff Enuff

Hail To The Priest

Metalville, 2019

8/10

Listen to Hail To The Priest

A tribute album to the almighty Judas Priest, Thobbe Englund, who many will know as the former guitarist of Finnish metalheads Sabaton, reworks some deeper cuts from Halford and company on this raging listen.

“The Sentinel” gets the album off to a classic metal start with strong riffage, as raw yet melodic vocals flow with the powerful, thundering rhythm section, and “The Ripper” follows with a vocally expressive tune where some high notes are hit as the music is a bit more tame, but no less gripping.

The middle of the album brings us the chugging intensity of the darker spirited “Immortal Sin”, a Halford tune from his time in Fight, while “Burn In Hell” gets eerie and mysterious in all the best ways. The album highlight resides here, as the thumping “Desert Plains” recruits a stadium rock delivery that reminds us of all the things we love about Priest’s guitar work.

Near the end, “Into The Pit”, another Fight tune, recruits a jackhammer, thrash template that’s certainly mosh friendly, and “I’m A Rocker” ends the album with power and melody in a way that brings to mind all the ‘80s metal giants with fluid guitar solos and loud choruses.

Thankfully, Thobbe doesn’t try to imitate Halford and instead puts his own spin on the covers, and while nothing here is better than the original, it’s all damn great, unleashed fiercely and recorded with top notch quality.

Travels well with: Iron Maiden- Powerslave; Megadeth- Rust In Peace

Gone South

Self-Released, 2019

8/10

Listen to Gone South

The husband and wife duo of Andrew Stern and Laura Arias, as 3 Pairs Of Boots the couple further prove that California breeds just as much stunning Americana as Nashville or the Southern States.

Though the pair have played many genres of music and take influence from artists as vast as The Smiths and Tom Petty, Gone South has the duo working around the edges of blues, rock and country influenced territory.

“Hey, I’m On My Way” gets the listen off to a peppy, country shuffling pace with gorgeous vocal harmonies, and “Anything For You” follows with warm guitars and some pop-influences in the dusty rocker.

Elsewhere, “Gone South” trims the pace back to reflective as the tune unfolds with cautious melodies, while “Dollar Store” delivers a rockin’ spirit in the Americana umbrella, though it’s far from your typical approach.

The back half of the album offers the ballad like setting of “He Lost My Number” that builds into a playful country-pop highlight, the rugged yet tuneful “Lousy Week”, and the more classic country ideas of “Liberty”. “Always Loved Cowboys” ends the affair with beautiful melodies and soothing backing vocals.

Stern handles guitar duties here and finds a great balance between straightforward and intricate with timeless radiance, and Arias brings her soulful, luminous vocals to heartfelt, smart and memorable songs that can be raw, pretty and even moving.

While the Americana pool is getting deeper all the time, 3 Pair Of Boots are an outfit worthy of keeping an eye on as their strong song craft and breezy delivery puts them near the top of the list.

Travels well with: Maren Morris- Hero; Miranda Lambert- Revolution

Cowboys & Aliens

Self-Released, 2019

8/10

Listen to Cowboys & Aliens

An outfit spearheaded by Monica Uhm, as Trio Of Awesuhm the New York songstress brings a retro spirit to her modern, punchy influences of pop and rock.

“Last Night” starts the listen with a warm, memorable spirit of acoustic guitars, keys and, most importantly, soothing vocals from Ohm, and “Storyline” follows with plenty of rhythm and subtle power, as well as funk nods.

Elsewhere, “Begging The Radio” is gorgeous country-pop song with Uhm’s voice soaring high, while “Just Hurting” takes a contemplative turn into cautious territory.

The back half of the listen offers us the soft keys, playful melodies, orchestral strings, harmonica and Americana shuffling of “After The Show”, and the multifaceted “Adios”, where some mystery enters the diverse instrumentation that touches on jazz. The album ends on “Mighty Waters”, which is a lively exit with string acrobatics and a pace that will get your body moving.

An accomplished listen that covers folk, alt-rock, country, and many others, Uhms and her proficient band make Cowboys & Aliens a delightful experience that you won’t forget anytime soon.

Travels well with: The Cranberries- Everyone Else Is Doing It, So Why Can’t We?; Aimee Man- I’m With Stupid

Tre Ut

Apollon, 2019

8/10

Listen to Tre Ut

On this sophomore album from the Norwegian trio, Trojka deliver what they do best- a fusion type of rock where few genres are off limits and exploration unfolds in spades.

Opening track, “President”, starts out with beat friendly smooth jazz sounds that touch on prog-rock, and “Penger” follows with a cosmic influence of psyche-rock where warm synth makes a grand presence.

Near the middle, “Orkan” puts percussion at center stage on the retro-fun that takes nods to the ‘70s, while “Fly” brings a calming, subdued moment of elegant folk inspired playfulness.

At the end, “Grenseland” recruits bouncy bass work into not so subtle homage to prog-rock giants like King Crimson, and “A se” uses atypical melodies in a restrained, lush fashion. The album ends on the title track, which offers 7 minutes of adventurousness that encompasses pop, prog, folk and experimental, artistic flashes, too.

An exciting and fluid display of prog-pop fun, Trojka make their genre skipping appear effortless as they wind in and out countless ideas with incredible skill from the three. Although they’ve been underground heroes in their hometown of Bergen for many years, Tre Ut will certainly and understandably bring them legions of new fans who appreciate their unique vision.

Travels well with: Knekklectric- For Mange Melodia; Hatifnats- Before It Is Too Late

A Warm Day In Winter

Naxos, 2019

8/10

Listen to A Warm Day In Winter

A veteran composer and bassoonist, Truman Harris caters to wind instruments here, as he pens tunes for his long running colleagues on this superbly executed collection of chamber music.

“Rosemoor Suite” starts the listen with flute, oboe, bassoon, horn and clarinets on a playful, elegant tune with cascading beauty, and “Aulos Triptych” follows with 4 flutes and piano on an upbeat and adventurous exploration of timeless rhythm.

On the back half, “Flowers”, which uses the same instruments as “Rosemoor Suite”, delivers a cinematic quality to the sophisticated manipulation of light and dark textures, while “Sonata” recruits a mysterious angle of darker ideas in one of the album’s best that is also the most complicated, but far from esoteric.

With players on hand from the National Symphony Orchestra and the Eclipse Chamber Orchestra, Harris is in great company here, and together they flesh out engaging, layered and graceful classical and chamber sounds that will satiate not only the ears but the mind the soul.

Travels well with: Bill Douglas- Deep Peace; Tony Overwater- Ellington Suites

Somewhere There’s Music

Jamey Ray, 2019

8/10

Listen to Somewhere There’s Music

An 11 piece a cappella outfit from The Sunshine State, Voctave may not utilize any instruments but their voices, but that doesn’t stop them from delivering new life into classic tunes with their gospel, pop and Christian barbershop influences on these 13 harmonic and soothing covers.

“Orange Colored Sky” starts the listen with the female voices dominating the calming track, and “Somewhere Over The Rainbow” brings new breath to the standard as both genders mix their talents with much sophistication.

Near the middle, “Moon River” is especially dreamy, and the playful “Andrews Sisters Medley” illustrates just how frisky the ensemble can get sans traditional instruments with plenty of blues-influenced rhythm.

Deeper cuts offer the romantic and sultry “My Funny Valentine”, and collaborative album highlight “Smile”, where much power and grace are exemplified. “Won’t You Be My Neighbor” ends the listen on a comforting and nostalgic exit to an ideal track to finish the intimate and amicable affair.

A collection of primarily jazz standards, Voctave certainly retain that jazz spirit of the originals while putting a nice coat of their inimitable formula on this accomplished and fun endeavor.

Travels well with: The Swingle Sisters- Weather To Fly; The Manhattan Transfer- Extensions

New Ways

Self-Released, 2019

8/10

Listen to New Ways

The brainchild of Mark DiLillo, as Welsh Avenue the songwriter has his foot firmly in the sounds of electro-pop and alt-rock with plenty of strategic keys along the way on this thriving EP.

After the sparse keys on the opening introduction, “Open Book” dives right into a beat friendly electro-pop tune with plenty of upbeat, flowing melodies as well as restrained fun with layered synth.

In the middle, the title track brings playful keys and plenty of pop friendly rhythm, while “The Fervor” recruits a soulfulness in a club friendly anthem with strong production present.

Near the end, “Two-Door Coupe” offers an ambient setting of warm pop meets indie-tronica, and “Disco Moon” adds a spacey element to a dance rock exit that will be sure to turn many heads his direction.

Often taking nods to the ‘80s with this dreamy and highly tuneful approach, the now Austin, Texas resident pens a very likable listen here, and it will be exciting to see what unfolds next for Welsh Avenue.

Travels well with: The The- Dusk; The Shins- Port Of Morrow

All Your Favorite Songs

Self-Released, 2019

9/10

Listen to All Your Favorite Songs

Though the impetus of this sophomore album from Bennett and company has its origin in tragedy (his father suffered a stroke), the sounds are often upbeat, lively and full of rural influenced gloriousness.

“Rabbits” starts the listen with warm pedal steel in a setting of Americana friendly rock, and “Off The Ground” follows with a brisk pace of cautious melody that’s as timeless as it is infectious.

A record that does live up to its title, “Caroline” is a swift tune of folk-influenced sounds, while “Happy Thoughts” recruits warm, jangly guitars for one of the album’s best and indeed one of your future favorites.

The back half of the affair flows quite nicely, too, with the galloping fun of “Linger On”, the Nashville friendly “in Nashville”, which is about as close to twang as the listen gets, and the pop influenced yet gritty “Vultures”. The record ends on “All Your Favorite Songs”, where the alt-country shines bright and resonates fluidly.

A superb display of country tinted rock’n’roll and the lush ideas of Americana, Bennett turns adversity into flouring art with All Your Favorite Songs, and we’re all better off for it.

Travels well with: The Bottle Rockets- Bit Logic; Old 97’s- Most Messed Up

Yimba Rudo

Barking Hoop, 2019

8/10

Listen to Yimba Rudo

A trio consisting of Kevin Norton, Jim Pugliese and Steve LaSpina, Yimba Rudo (meaning ‘Sing Love’ in Zimbabwe’s Shona language), brings avant-garde and world music ideas to this chamber jazz influenced listen.

“Reconcile The Classic View” starts the album with Norton’s gentle vibraphone as drums stay soft while Norton’s acrobatics take focus, and “Toronto” follows with a highly playful setting as the drums build into a tense display of skill.

Further along, “Over And Inside The Rainbow” brings the mood into calmer areas, where ambiance and exploration are in attendance, while “The Faustian Bargain” offers a haunting, hypnotic approach as LaSpina’s double bass leaves an impression.

Near the end, “Tearing Down The Walls” flows with a cinematic quality, and “Polar Oscillation” reels experimental ideas into the unconventional album highlight. The listen ends on “Walking The Dogma”, which ranges from sparse to busy as all members take their turns in the spotlight.

Seeing as all 3 players have taken the lead role in other endeavors, this all star collaboration brings in a wealth of talent where the flawless execution of progressive warrants repeated listens.

Travels well with: Paul Bley- Diane; Anthony Braxton- For Alto