The Kings Pond Shantymen

Hold Your Course

Nub, 2020

8/10

Listen to Hold Your Course

Though they’ve been around for 20 years now, this is just the 2nd album from The Kings Pond Shantymen, who use only vocals for their authentic shanty style that relies on male harmonies to fuel seafaring tunes and working and drinking songs.

“Rattle Them Winches” starts the listen where group vocals bring a call and response folk-ish tune, and the traditional “Sugar In The Hold” follows with an anthemic quality and memorable chorus.

Deeper into the listen, “Fathom The Bowl” brings a sing-along appeal with a highly melodic delivery, while “A Sailor Ain’t A Sailor” is a playful display of strong vocal prowess from the skilled ensemble. “Whip Jamboree”, the album highlight, is then an instantly enjoyable ditty that will have you singing instantly.

Closer to the end, “Bully In The Alley” makes an impression in less than 2 minutes as the members interact precisely, and “South Australia” exits the listen with the outfit doing what they do best- A cappella that’s timeless, warm and even comforting.

Certainly an anomaly group in a time where much music involves cramming as many instruments into a record as possible, sometime less is indeed more, and The Kings Pond Shantymen certainly embrace that and handle it with much care and talent.

Travels well with: Straight No Chaser- With A Twist; The Coats- Last A Lifetime

Adrian Sutherland & Midnight Shine

James Bay

Self-Released, 2020

8/10

Listen to James Bay

Canada’s Midnight Shine made a lot of new fans with 2018’s High Road, and thankfully they’ve remastered their 2013 debut album here, putting some gloss on their roots with new cover art, a couple tracks not on the original, but, thankfully, with the same multifaceted version of rock that they’re making their name on.

The album leads with the atmospheric talking of “N’dodemuk” that segues into the roots friendly version of rock of the title track, where smooth vocals from Sutherland and agile guitar strumming populate the landscape.

After the strong start, “Hopeless Romantic” recruits warm harmonica alongside a crisp rhythm section, while “Worth The Fight” brings keys into a very cautious yet playful album highlight. “Since You Been Gone” then offers a rugged yet tuneful display of Midnight Shine’s brand of rock, as Sutherland puts his vocal range on display.

Deeper into the record, “Mooshum” is another track that benefits from harmonica as a thicker, fuzzier presence enters and is easily embraced, and “Misguided Woman”, the first track Sutherland ever penned, exits the listen with adventurous piano complementing the frisky rock’n’roll spirit.

A move that many make when gaining popularity and one that doesn’t always end up being the best idea, this reissuing of Midnight Shine’s early days was absolutely a worthwhile effort that new and old fans will appreciate and explore in depthly.

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

New River Bluegrass

There Was A Time

Self-Released, 2020

8/10

Listen to There Was A Time

A long running bluegrass outfit with a penchant for vocal harmonies and acoustic prowess, Barry Long, Mike Johnson, Chuck Price, Andy Smith, Mike Mullins and Dwayne Brown comprise New River Bluegrass, and here they offer a dozen tunes where they all sing and invite plenty of gospel ideas into their timeless song craft.

“Shadow Of The Mill” starts the album with chunky banjo as soothing vocals enter the vibrant bluegrass setting, and this continues to the string acrobatics of “My Mind’s Made Up”, as well as the emotive and agile “Faith Of A Little Seed”.

Deeper cuts bring us the warm balladry of “Welcome Home”, while “There Is A Time” moves swiftly with plenty of sublime rural melodies alongside soaring vocals. The album exits on “Living Water”, where the band’s strong faith is referenced lyrically amid memorable and dynamic bluegrass musicianship.

Fans of music from the Pinecastle label or even the Bonfire label will want to pay attention here, as New River Bluegrass bring us all the hallmarks of the genre in spades, and their execution is nothing short of flawless.

Travels well with: Lindley Creek- Freedom, Love And The Open Road; Flashback- Blues Around My Cabin

Krief

Chemical Trance

Indica, 2020

8/10

Listen to Chemical Trance

Patrick Krief’s last album, Dovetale, wasted no time impressing me, and this follow up album continues his artistic vision with a firm leap into psychedelic territory that’s quite personal and was conceived to be one continuous listen.

“I Am The Pillar Of Darkness In Your Life” starts the listen with much attention to mood as indeed some dark ideas enter the indie-pop textured opener, and “I Love You Just The Same” follows with light keys and a dreamy quality in a baroque pop setting.

At the half way point, the title track finds a hazy place to reside with a mysterious feel, while “Svengali” burns slow with plenty of precise ambience. “The Light Between Your Eyes”, one of the album’s best, then booms loud with an almost prog-rock feel as guitar solos enter the grooving climate.

The albums ends strong, with the bare “Never Without You”, which points towards John Lennon influences, and “Gyp Million Star” exits the listen instrumental, with a minute of atmospheric manipulation.

This is the Canadian songwriter’s 6th album and it draws parallels to Pink Floyd, Radiohead or even The Beatles in their most adventurous time. Krief played the bulk of the instruments, with help on strings and brass, and it results in a very ambitious endeavor that settles in quite nicely on about the 3rd listen and holds your attention firmly.

Travels well with: The Building- Petra; Kate Tucker And The Sons Of Sweden- The Shape The Color The Feel

Reb Fountain

Reb Fountain

Flying Nun, 2020

10/10

Listen to Reb Fountain

Although you might not be familiar with the name Reb Fountain, if you spend anytime with this pensive, pretty and highly eloquent self-titled album, you certainly won’t forget your time spent with Fountain’s brand of art.

“Hawks And Doves” wastes no time making an impression on the bare, atmospheric opener where Fountain’s inviting vocals steer a very indie-folk friendly setting, and “Samson” continues the elegance with a mix of talking and singing as piano complements the cautious landscape where Fountain invokes the qualities of Patti Smith.

Elsewhere, “Faster” offers sparse beauty which really displays Fountain’s sublime pipes as minor twang enters the equation, while “Don’t You Know Who I Am” brings strategic percussion to a very soulful landscape with a hypnotic riff. “Strangers”, one of the album highlights, then recruits a darker approach, as the tune builds into a stirring and haunting adventure with precise synth.

Closer to the end, the strings of “The Last Word” bring an orchestral slant to a fuller, playful version of pop, and “Lighthouse” exits the listen in ballad territory, with keys alongside the breathy, pretty singing that borders on gospel.

If legends like Nick Cave, Cat Power and Sharon Van Etten mean anything to you, Fountain’s stirring brand of song craft will certainly resonate well, as she makes it easy to understand why she’s won Best Country Album and Best Folk Album in her home country of New Zealand. It will be no surprise to anyone if she sees just as much praise for this masterpiece, too.

Travels well with: Agnes Obel- Myopia; Vanessa Peters- Foxhole Prayers

Matt Costa

Yellow Coat

Dangerbird, 2020

8/10

Listen to Yellow Coat

The California troubadour Matt Costa returns with his 6th album, and this time he takes inspiration from Van Gogh’s Dear Theo as well as John Steinbeck’s A Life In Letters. A record that surrounds themes of heartbreak, the record actually consists of letters Costa wrote to himself at the end of a 10 year relationship.

“Avenal” starts the listen with a warm, acoustic landscape as soft singing guides the synthetic drums and dreamy folk approach, and “Slow” follows with an AM radio slant that’s also got an old time feel as Costa displays timeless song craft.

In the middle, “Jet Black Lake” is a soulful tune with a busy, precise formula, while “Savannah” moves with a rhythmic, retro swagger that flirts with Motown sounds and benefits from a saxophone. The title track and stand out tune then illustrates a hazy delivery of stirring yet playful ideas that just might make you want to mull things over.

Near the end, “Sky Full Of Tears” is an upbeat waltz influenced moment, and “So I Say Goodbye” exits the album piano friendly, where Costa’s smooth pipes suit the emotive finish as eloquent wordplay concludes the listen and relationship.

An intimate and forthright record that’s got plenty of reverb and falsetto vocals, Costa pens a bedroom pop effort that few others could pull off, that, if you’ve been following along so far, will certainly gravitate to, and, if it’s your first experience with Costa, will absolutely be intrigued with.

Travels well with: G. Love- The Juice; Conor Oberst- Salutations

Gasoline Lollipops

All The Misery Money Can Buy

Soundly, 2020

8/10

Listen to All The Misery Money Can Buy

A Colorado outfit who know their way around an alt-country tune, Gasoline Lollipops is fronted by Clay Rose, who is the son of the songwriter Donna Farar, while Don Ambory, Scott Coulter, Brad Morse and Kevin Matthews round out Gas Pop’s line up. Together, they inject southern and soulful ideas into their timeless song craft on this well done effort.

The album leads with the title track, where strong vocals guide a warm Americana landscape as organ fills complement the fluid rhythm section, and “Dying Young” follows with a calm setting of careful song craft that takes plenty of nods towards the blues.

Further on, the spirited guitar licks of “Lady Liberty” help cultivate a rootsy rock atmosphere, while “Nights Are Short” is a soft, reflective folk-influenced display of sublime beauty. “Taking Time”, one of the album’s best, then recruits classic country sounds amid a very cautious and memorable delivery.

Near the end, “Gypsy” burns slow with a retro, bluesy quality, as Rose’s scratchy vocals illuminate the mood, and “Sinnerman” exits the listen with 7 minutes of keys and soft percussion as gentle brass accent the building atmosphere the gets busy, loud and ebullient before retreating back to a haunting tone.

Though they’re certainly forging their own path, you’ll hear remnants of Tom Waits or Waylon Jennings here, which could never be a bad thing, as Gasoline Lollipops bring gritty melody and a rugged yet tuneful formula that just begs to be played repeatedly.

Travels well with: Jay Stott- Wreckage Of Now; Brad Heller- The Sentence

Two Bird Stone

Hands And Knees

Soundly, 2020

9/10

Listen to Hands And Knees

A new outfit fronted by the multi-instrumentalist, vocalist and songwriter Liam Thomas Bailey, along with Chad Kelly, Judd Fuller and Rohin Khemani, Two Bird Stone offer a very thoughtful sort of Americana where influences from multiple continents make up their charming formula.

The title track starts the listen with Kelly’s accordion and Bailey’s banjo aiding the folk and Americana landscape that benefits much from Sarah Siskind’s pretty pipes, and “Shoebox Money” follows with louder vocals and a jam band quality as group singing and an anthemic approach enters some Celtic nods.

At the halfway point, “When Somebody Can See Your Soul” recruits a quieter setting where expressive vocals and eloquent storytelling are present, while “If you Wanna Come Back” isn’t short on melody alongside graceful musicianship that gets a bit rowdy, too. “The 99”, one of the album’s best, then brings in soothing country influences that unfold sweetly and with much skill.

Closer to the end, “Needle And Thread” uses Bailey’s fiddle strategically in a campfire-esque sort of way where Kenny Vaughn makes a guest appearance on guitar, and “Drive It ‘Til The Wheels Fall Off” finishes the listen with a bare display of organic beauty that truly illustrates the seemingly boundless talent present.

An extremely well done debut, Two Bird Stone are versed in folk, roots, country, rock, bluegrass and Celtic textures, and they use them all in exciting, warm and inviting ways on what just might be the best Americana album of the year.

Travels well with: Gordon Thomas Ward- Eiderdown; Glenn Thomas- Reassure Me There’s A Window

Ronnie Earl & The Broadcasters

Rise Up

Stony Plain, 2020

8/10

Listen to Rise Up

A veteran blues musician with 4 decades of experience under his belt, the 4 time ‘Guitar Player of the Year’, Ronnie Earl, returns with a very topical album that was recorded just as quarantine was finishing, and touches on Black Lives Matter, George Floyd and Native American issues.

“I Shall Not Be Moved” starts the listen with Earl’s careful take on the traditional as soft and agile guitar playing comprises the 2 minutes, and ‘Higher Love” follows with frisky percussion and bluesy guitars that complement Diana Blue’s sturdy pipes.

With 15 tracks included, and nearly half surpassing 5 minutes, Earl and company easily keep our attention with meticulous song craft like the reflective, emotive instrumental “Blues For Lucky Peterson”, while the organ acrobatics from Dave Limina intertwine well with the spirited guitar licks of “Albert’s Stomp”. “All Your Love”, one of the album’s best, then displays Blue’s soaring vocals amid a soulful energy that’s as timeless as it is memorable.

Deeper tracks include the contemplative “Talking To Mr. Bromberg”, where a gospel influence enters the sublime atmosphere, and “Navajo Blues” finishes out the listen with dynamic interplay between Forrest Padgett (drums) and Paul Kochanski (bass).

With a good mix of originals versus covers and studio versus live recordings, this 27th album from Earl proves just why he’s one of the most esteemed blues musician that exists today, and he clearly shows no sign of deviating from that position, thankfully.

Travels well with: Albert Castiglia- Wild And Free; Joe Bonamassa- A New Day Now

San Gabriel 7

Red Dress

JRL-SGS, 2020

8/10

Listen to Red Dress

A long running Southern California outfit spearheaded by trombonist Jim Lewis, though Lewis is still the leader of the San Gabriel 7, different members have populated the esteemed ensemble over the years, and this 10th album brings in Femi Knight to handle vocal duties.

“I’m Going Home Tonight” leads with playful yet elegant percussion as bright horns enter the cultured, soothing landscape where Knight’s smooth vocals guide a very soulful opener, and “Give A Little” follows with a calmer pace of emotive R&B influenced ideas, as backing vocals highlight the many grooves present.

Elsewhere, “New Tomorrow” is certainly dance friendly, where there’s no shortage of rhythm that takes nods to Brazil, while “The Next Best Thing” doesn’t shy from pop friendly melodies amid Steve Gregory’s agile guitar prowess. “Stranger”, one of the album’s best, then brings an uplifting love song that really displays Knight’s incredible vocal range.

Close to the end, “Never Make Your Move Too Soon” is a live tune that incorporates dynamic musicianship between Kyle Palmer’s trumpet and Max Weisberg’s keyboards, and a radio edit of “The Next Best Thing” finishes off the listen with a shorter version that’s no less energetic or memorable than the earlier recording.

With 7 members making up the rhythm section, and 5 in the horn section, there’s a massive amount of talent on hand as the players flesh out songs arranged by Dave Cushman where plenty of sophisticated traces of funk, blues, jazz, R&B and gospel are included and easily enjoyed.

Travels well with: Kenny Kotwitz & The LA Jazz Quintet- When Lights Are Low; Benny Rubin Jr.- Know Say Or See

Dave Mason

Alone Together… Again

Self-Released, 2020

8/10

Listen to Alone Together Again

A legendary singer-songwriter and guitarist who made a name for himself as a founding member of Traffic, Dave Mason’s debut album, Alone Together, was released in 1970 and saw much success.

Here, Mason recreates that album with Johnne Sambataro, Alvino Bennett and Tony Patler, as well as guests like John McFee, Bill Reynolds, Teddy Jack Russell and many others. Together, they offer brand new studio versions of songs Mason wrote at just 24 years old.

Mostly, and thankfully, Mason keeps the rootsy spirit intact that made this debut so timeless. The biggest hit from the album, “Only You Know And I Know”, starts the listen and proves it’s aged well and sounds just as good as it did half a century ago.

Elsewhere, “World In Changes” trades the original blues tone for a more reggae influenced affair, while “Sad And Deep As You” finds itself a bit more cultured alongside Mason’s inimitable guitar acrobatics.

Classic tunes from the album that remain true to the original recordings include the emotive, jangly soft rock of “Can’t Stop Worrying, Can’t Stop Loving”, as well as the 7+ minute closer, “Look At You Look At Me”, where Mason’s vocals soar high alongside no shortage of gritty melodies.

A perfect way to celebrate the 50th Anniversary of some of his best work, if you’ve spent time with Alone Together, you certainly will want to devote just as much attention to Alone Together… Again.

Travels well with: Rick Vito- Soul Shaker; Don McLean- Botanical Gardens

Errata

Many People Are Unenthusiastic About Your Work

Gilded, 2020

8/10

Listen to Many People Are Unenthusiastic About Your Work

A relatively new Chicago trio who use improvisation as well as pre-planned ideas in their adventurous song craft, Ishmael Ali, Bill Harris and Eli Namay balance noise with jazz inflections across these 6 very unusual and exciting tunes.

“Background Noise” gets the album off to an experimental start with stop and go dynamics, as jagged jazz ideas unfold with calculated precision that seems a bit chaotic, and “Compositon 6” follows with plucked bass from Namay and precise drumming and percussion from Harris that complement Ali’s spirited guitar work.

The back half of the listen is equally unpredictable, including the initially bare and angular “Shoehorn”, which ends up frantic and furiously melodic, while “Sno” leads with static and spacey prog-rock nods before bursting into an extremely playful execution. “Talus” exits the listen on a high note, with much atmosphere and an aberrant display of multifaceted talent that you’re not going to hear anywhere else.

Definitely steeped in jazz ideas, but certainly difficult to label, Errata make quite a bit of racket for just 3 players, but it somehow all flows seamlessly, flawlessly and with a unique charm that warrants repeated listens.

Travels well with: Je’raf- Throw Neck; Fugazi- Instrument

Kosta Jevtić

Reflections On A Journey

Mistyland, 2020

9/10

Listen to Reflections On A Journey

A pianist and composer from Novi Sad, Serbia, Kosta Jevtić delivers an album of originals here, armed with just keys and a very imaginative mind as he pens songs very much rooted in the Mediterranean landscape.

“Chiostro del Paradiso” starts the album with soft, elegant keys under a hypnotic melody that’s both soothing and captivating, and this approach continues to the darker, more forceful quality of “Sweet Sun of Southern Lands”, as well as the brief but triumphant “Capri”, where a fuller blast of key acrobatics leaves an indelible mark.

Further along, “Tseria” moves with a gentle, emotive pulse of divine beauty, while “Procide” is a playful and charming jaunt that incorporates classical ideas in a dreamy, poetic album highlight. The record exits on “The Lighthouse”, where a reflective quality enters a sublime yet adventurous finish.

An extremely expressive, stirring and, at times, meditative effort, Jevtić pulls off an outstanding performance here that anyone with an ear for piano music will adore.

Travels well with: Casey Gibson- Piano Music; Rachel Grimes- The Clearing

Je'raf

Throw Neck

Amalgam, 2020

8/10

Listen to Throw Neck

An unclassifiable outfit with members who have lineage in Chicago and New York’s underground scenes, Je’raf are well versed in jazz, punk, funk and hip-hop, and they mesh them all with an eccentric and highly skilled delivery that few, if anyone, could replicate.

“Black Holes As Waste Management” starts the listen quirky and unpredictable with a free jazz approach as brass and dual gender vocals complement the funk friendly setting, and “Olive Juice” follows with frisky percussion and hypnotic bass lines as soulful vocals guide the exciting, hip-hop influenced unusualness.

Things only get more interesting from here, believe it or not, with the initially bare “(This One’s) For The Ether”, which recruits soft horns and elegant musicianship, while “Umbra” takes on a hypnotic quality as rapping enters the feral jazz. “S.S.H.P.”, one of the album’s best, then leads sparse with soaring vocals before a busy display of cabaret rock sweeps in with timeless melodies that’s both rowdy and calculated.

Towards the end, “Sad Boi (Feels Entitled)” benefits from spoken word alongside gentle drumming before playful saxophone contributes, and “Ballad Of The Flat Earthers” exits the listen with ominous story telling as strategic brass and a call and response tactic finishes out the affair.

Perhaps most closely related to art-rock, Je’raf never stay in one place very long, and it makes for a fascinating listen where each subsequent listen brings new finds as all 7 members contribute their respective talents to an iconoclastic brand of fusion.

Travels well with: Fugazi- Instrument; Doomtree- All Hands

The Dirty Clergy

In Waves

Cornelius Chapel, 2020

9/10

Listen to In Waves

There appears to be no shortage of exceptional indie/alt-rock bands in Alabama these days, and the Winfield trio of The Dirty Clergy are certainly reinforcing that notion with this 3rd album of swirling, often ominous rock where traces of shoegaze linger and impress.

“Trials” starts the listen highly melodic and dreamy with strong percussion and hazy vocals guiding the jangly indie-rock, and “Born To Lose” follows with a slow burning approach that builds into a tuneful, lo-fi display of harmonic and sturdy alt-rock.

Closer to the middle, “Homesick” brings plenty of atmosphere to the sonically pretty, soaring album highlight, while “West Coast” recruits a darker, post-punk quality to the tense yet elegant climate that even touches on prog-rock. “Whiplash”, another album standout, then floats lightly with a wispy appeal that’s sugary sweet ‘dreamgaze’.

At the end, the appropriately titled “Dreaming” displays precise guitar strumming with shoegaze nods, and “Too Good To Last” exits the record with a reflective, bare delivery that illustrates much depth and skill.

After some line-up changes in the band, The Dirty Clergy is now Brian Manasco (guitar, vocals), Ky Carter (bass) and Cody Moorehead (drums). Unfortunately, Manasco is now dealing with health issues that make it difficult for him to tour or even play live, but let’s hope that things improve for him, cause the current state of rock really benefits greatly from The Dirty Clergy’s song craft.

Travels well with: People Years- Animalism; Terry Ohms- Cold Cold Shoulder

Tomar And The FCs

Rise Above

Splice, 2020

8/10

Listen to Rise Above

An Austin, Texas outfit spearheaded by Tomar Williams, with The FCs the soul band has made quite an impression in their 5 year existence, and this sophomore album is undoubtedly their best work yet as they offer funk, R&B, soul and plenty of textured ideas in their infectious formula.

“Can’t See You” starts the listen with bright horns and soulful singing that’s not short on grooves, too, and “Enough Is Enough” follows with spirited guitar work as keyboards enter the energetic landscape that flows with a retro quality.

In the middle, “Innocence” brings plenty of funk fun to the festive climate, while “This Woman” moves a bit more slowly, but with powerful singing that borders on cathartic. “Take Your Time”, one of the album’s best, then bristles with plenty of rhythm and melody as their version of rock’n’roll comes with lasting power in its throwback prowess.

At the end, “Gypsy Woman” is a percussively strong and upbeat display of incredible skill in a playful delivery, and “Up” finishes the listen emotive and R&B influenced where strong singing aligns with cautious musicianship.

The FCs consist of Andy Tenberg, David Earl, Mitch Fiscels, and Paul Kresowik, and they pull off an incredible performance here with a precise yet adventurous execution that you won’t forget anytime soon.

Travels well with: Brownout- Berlin Sessions; Grupo Fantasma- American Music Vol. VII

Chelsea Williams

Honey, Honey 7”

Blue Élan, 2018

8/10

Listen to Honey, Honey

A precursor to her exceptional album, Beautiful & Strange, the Los Angeles resident Chelsea Williams offers us 2 charming tunes here, where her country roots are on display as she pens a very endearing hybrid of Americana and folk sounds.

Side A offers us the honky tonk fun of the original “Honey, Honey”, where plenty of timeless melody and playful rhythm suit the soaring vocals from Williams and shuffling pace from the guitars, drums and bass.

Side B is a frisky interpretation of “Lovesick Blues”, which was popularized by Hank Williams and penned by Cliff Friend and Irving Mills. Armed with an acoustic guitar and expressive singing from Williams, this is an excellent version that carries some familial significance as her grandfather played in a country band and adored Hank.

Even though she’s still a youngster, Williams actually started her career at age 12, and has already landed a national commercial, a couple of record deals, and, perhaps most importantly, made a fan out of pretty much anyone willing to spend time with her music. A great way to introduce yourself to her engaging song craft, these two tracks showcase the fluid songwriting prowess of Williams perfectly.

Travels well with: Mary Bragg- Violets As Camouflage; Janiva Magness- Change In The Weather

Sera

When I Wake Up

CEG, 2020

9/10

Listen to When I Wake Up

The Welsh singer-songwriter Sera Zyborska returns with a batch of tunes that draw from folklore, as violin from Nico CJ and Len Whitehead’s electric guitar help illuminate her varied and timeless song craft.

“Rabbit Hole” starts the listen with quivering strings as Sera’s inimitable delivery is both soaring and smoldering as the landscape builds into a lush version of folk-rock, and “Into The Woods” follows with acoustic strumming as warm melody meets an orchestral angle that’s a very unique take on Americana with plenty of rhythm.

Closer to the middle, “The Door” display’s Sera exceptional range as a fiddle enters the thoughtful climate, while “Old Soul” moves gently with a slow burning appeal of sublime beauty. “Boudica”, one of the album’s best, then recruits a rugged yet tuneful formula that’s percussively strong and country influenced in playful ways.

“Atlantis” and “Y Gost” bookend the listen, where the former resides initially closer to balladry where keys add much and strings complement the very high notes Sera hits, and the latter moves with delicate, emotive songwriting as expressive singing unfolds with a cinematic quality.

Sera stays plenty busy with her other bands, Tapestri, Eve & Sera and Suspects, but let’s hope she finds time for solo work, too, as the way she navigates around country, folk, pop and Americana textures is nothing short of stunning.

Travels well with: Eliot Bronson- Empty Spaces; Sera- When I Wake Up

Pixie Ninja

Colours Out Of Space

Apollon, 2020

8/10

Listen to Colours Out Of Space

A Scandinavian outfit with an affinity for prog-rock sounds, this sophomore album from Pixie Ninja is instrumental like their debut, but this time it’s influenced by the short stories of Howard Phillips Lovecraft.

The title track starts the listen with 10 minutes of cinematic, spacey, exciting sounds that can move with a faint pulse and also thunder with an intimidating, sometimes eerie approach. and “Leng Plateau” follows with a giant burst of experimental rock that’s as capable of getting fuzzy as it is progressive, adventurous and beat friendly.

The back half of the album offers the angular guitar work and proficient drumming of “Hutchinson Cipher”, where an enthralling energy captivates and repetition is turned into a highly refined art form, while “Strange Days” exits the listen with bare piano that builds into a hypnotic melody repeating amid a dreamy quality that’s actually quite soothing.

The record makes great use of vintage noisemakers like an Orchestron, Maestrovox, Fender Rhodes and Mellotron that collide with samples and synth, as Pixie Ninja come through with a daring, atmospheric and often raw journey of exceptional musicianship.

Travels well with: Laughing Stock- The Island; Fatal Fusion- Dissonant Minds

Lights Fluorescent

The Oldest Sons Of The Oldest Sons

Kingdoms, 2019

8/10

Listen to The Oldest Sons Of The Oldest Sons

A duo comprised of Dave Harrington (Darkside, Dave Harrington Group) and Benjamin Jay (NDF, Benoit & Sergio), as Lights Fluorescent the pair flirt with experimentation, mood and texturing in very creative ways.

The title track starts the listen with an unusual and exciting display of ethereal sounds and hazy vocals, and “Our Earlier Years” follows and brings a hushed setting of repetition in an experimental atmosphere.

The remainder of the album is equally unclassifiable, and includes the light and airy “Epitaphs”, as well as the cautious and summery “Hotels”, which takes nods to country western in iconoclastic ways.

Near the end, “Small Sacrifies” enters dream-pop territory with a healthy glaze of melody, and “July 9th” exits the listen aberrant and unpredictable with all sorts of sound manipulation in a sonically engaging delivery.

A debut that lacks percussion, the New Yorkers instead rely on feedback, guitar tweaking and ever changing vocal prowess that few could replicate on this highly interesting effort.

Travels well with: Sophia Saze- Self Remixes; Aris Kindt- Floods