Granville Automatic

Tiny Televisions

Self-Released, 2020

8/10

Listen to Tiny Televisions

A Nashville duo composed of Vanessa Oliverez and Elizabeth Elkins, the pair return with 6 new tracks that are firmly rooted in the history of their new hometown, while also embracing their Atlanta roots on this varied Americana effort.

The title track starts the listen with firm electric guitar and thumping drums as soaring vocals guide the melodic rock setting, and “Ice Cream” follows with piano complementing the pensive display of country influenced song craft.

In the middle, “Getaway Car” injects some pop ideas into a very Nashville sounding album highlight that’s both stylish and playful and with a bit of funk, while “Hell’s Half Acre” takes a more dramatic turn that shifts into fuller and lush sounds that benefit from an organ. “Opryland” exits the listen on a calmer note, where expressive singing aligns with warm twang as Oliverez and Elkins put their dynamic chemistry on display.

A record about Nashville’s rich history, there’s actually a companion book titled Hidden History Of Music Row with the album, that has Granville Automatic working alongside Brian Allison to dig even deeper in Nashville’s past. Musically, icons like Suzanne Vega and Lucinda Williams linger amid Granville Automatic’s songwriting prowess, and I doubt few people will have a problem with that, nor should they.

Travels well with: Larkin And Poe- Self Made Man; The Devil Makes Three- Chains Are Broken

Brendon Randall-Myers/Dither

Dynamics Of Vanishing Bodies

New Focus, 2020

8/10

Listen to Dynamics Of Vanishing Bodies

The New York guitarist and composer Brendon Randall-Myers offers us a first for him here, where he pens pieces for an electric guitar quartet, i.e. Dither. An avant-garde outfit, across nearly 40 minutes we’re offered soothing tunings, sonic wandering, strategic feedback and minimalism that is often turned into a highly refined art form.

“Missing Fundamentals” starts the listen and lays the mood well with repetition and dissonance unfolding in an abstract post-rock sort of way, and this droning minimalism continues to the softer, mesmerizing display of “Auras” that almost seems like it could soundtrack a sci-fi flick.

The back half of the album takes a dramatic twist into thicker, buzzing territory with the hypnotic “Trem Chorale/Harmonic Melody”, while “Vanishing Bodies (Lines And Loops)” exits the listen with a haunting quality as 4 guitars switch to looping and foot pedals in a highly unconventional landscape.

Dither is comprised of Taylor Levine, Joshua Lopes, James Moore and Gyan Riley and they pull off a fascinating performance of adventurous reverb, unpredictable structure and sound manipulation that you’re not likely to hear anywhere else.

Travels well with: Swans- leaving meaning; The Rileys- Way Out Yonder

The Neptunas

Mermaid A Go Go

Altered State Of Reverb, 2020

9/10

Listen to Mermaid A Go Go

If you had your ear towards the surf-rock scene in the ‘90s, and especially Estrus Records, you might remember The Neptunas, who put out several records on the Sympathy For The Record Industry label. Although they’ve played occasionally since 2000, the trio have been very part time as a band, but here all 3 original members, Leslita, Pamita and Laura Bethita, return with a new album recorded in Mexico.

“Billy The Squid’s Water Pistol”, an instrumental, starts the listen with shimmering guitar work as tumbling drums enter the restrained yet adventurous setting that’s very much indebted to surf rock but recruits some Mariachi ideas, too and “Secret Of The Sea” follows with playful garage rock as pretty vocals guide the punchy and harmonic rocker.

Closer to the middle, “Shark Tooth Necklace” shakes and rolls with crisp percussion, guitar acrobatics and group vocals that sounds like it could soundtrack an action movie, while “Lord Jim” is syrupy sweet pop melodica that you can’t help but tap your toe to and nod your head. “Nancy Drew’s Wetsuit”, one of the album’s best, then explores darker textures as the trio work together dynamically with a spy flick sort of approach.

Near the end, “School Is A Drag” brings some of the best singing as the ultra tuneful music complements the glorious harmonies, and “The Lonely Bull” sways with some western flavor as wordless vocals add much to the rare cover. Of the 3 bonus tracks, “Neptuna Car Wash” is particularly jangly and fun, and “Sorority Stomp” exits the listen with some guitar crunch that tips it hat to the ‘90s in all the best ways.

Comeback albums are rarely this successful, as the one time all instrumental outfit now use vocals on most tunes, with all members singing fluidly. Although primarily a surf-rock focused effort, fans of punk, garage, and even ‘60s girl groups won’t be disappointed.

Travels well with: Los Straitjackets- Deke Dickerson Sings The Great Instrumental Hits; Man Or Astro-Man?- Experiment Zero

Mike McClure

Looking Up

Self-Released, 2020

10/10

Listen to Looking Up

Although many of us won’t be familiar with the name Mike McClure, you may have heard of his former band, The Great Divide, who enjoyed a lengthy and esteemed career starting in the early ‘90s. On this installment of his Red Dirt influenced songs, McClure is accompanied by his partner Chrislyn Lawrence, as a reflective listen is birthed following a reinvention that involves getting sober.

“I Am Not Broken” starts the album with McClure’s gritty vocals alongside warm acoustic guitar as the tune picks up steam into a melodic and anthemic country rocker, and “Distractions” follows with an emotive spirit of cautious Americana that’s both soothing and playful.

Elsewhere, “Your Kind Of Blue” flows with breezy roots rock that parallels the greatness of Gary Louris, while “Orion” recruits well timed organ on the pretty yet tense album highlight. “Become Someday”, another exceptional tune, then offers country nods in a very precise landscape of timelessness.

“Little Bit Of Love” and “Sword And Saddle” exit the listen, where the former benefits from expressive storytelling as haunting strings and soothing vocals from Lawrence add much to the appeal, and the latter builds into a slightly more forceful execution of McClure’s stunning prowess that’s guided his massive arsenal of music.

McClure is at a great point in his life, and his song craft is benefitting from it, too, as this 10th solo record is one of the finest Americana efforts of 2020

Travels well with: The Jayhawks- XOXO; John Hiatt- The Eclipse Sessions

Will Butler

Generations

Merge, 2020

10/10

Listen to Generations

An integral member of the Canadian stars Arcade Fire and more recently a solo artist, too, the multi-instrumentalist Will Butler returns with a sophomore album on his own, where he recorded the entire album in his basement.

“Outta Here” starts the listen with plenty of atmosphere, as slow buzzing synth meets Butler’s raw, intimate vocals that bursts into a lively dance rocker, and “Bethlehem” follows with a charged pace of highly melodic indie-rock meets garage-rock that parallels the greatness achieved by Ted Leo.

Halfway through, “Surrender” benefits from call and response singing in a campfire-esque sort of way that will get your hands clappin’ and feet stompin’ in its southern swagger as Butler explores his falsetto, while “Hide It Away” brings a contrast of baroque-pop alongside jagged synth in the charming electro-pop. “Hard Time”, a particularly interesting tune, then gets soulful with plenty of subdued grooves that point towards the ‘70s with some disco flavor.

Close to the end, “Not Gonna Die” is an initially bare display of just piano alongside Butler’s gentle pipes before building into a sax friendly rocker, and “Fine” exits the listen with an expressive finish of strategic woodwinds and moody piano in its emotive nature.

An extremely well done album, no one can deny the vast talent and imaginative mind Butler possesses, as Generations showcases adventurous. eloquent and extremely eclectic songwriting that is a contender for album of the year.

Travels well with: Ted Leo- Shake The Sheets; Arcade Fire- Everything Now

Concetta Abbate

Mirror Touch

Self-Released, 2020

8/10

Listen to Mirror Touch

The sophomore album from the New York City violinist, composer and vocalist Concetta Abbate, Mirror Touch takes a unique approach thematically, where each song derives inspiration from a perspective offered by a collaborator and friend, as women’s mental health issues are explored with much poetic grace.

“Creatures” starts the listen with cautious strings as Abbate’s sweet vocals guide the very graceful, cinematic quality to the folk ideas, and “Madrigal” follows with playful picking as a playful classical setting unfolds in just one minute.

At the midpoint, “Building” is a bare, breath display of subdued beauty, while “Overflow” moves cautiously, with a pretty landscape as playful instrumentation accompanies the timeless spirit. “Bit Of Rain”, one of the best tracks present, then manipulates time and space well where busier moments are met with calmer ebbs of precision.

Near the end, “Secrets” takes on a darker approach with no shortage of dynamic instrumentation from the players, and “Forgetful” exits the listen with just the moody violin complementing the expressive singing.

Abbate handles 5 string violin and vocals across the album, while Benjamin Engel, Leanne Friedman, Vasko Dukovski and Charlie Rauh contribute percussion, flute/alto flute, bass clarinet and guitar respectively, and together it unfolds in a very moving display of neo-folk and modern classical song craft that few could replicate.

Travels well with: Joanna Newsom- Divers; J. Pavone & String Ensemble- Lost And Found

Jake Winstrom

Circles

Self-Released, 2020

9/10

Listen to Circles

A Tennessee native and now Brooklyn resident, the inimitable singer-songwriter Jake Winstrom returns with a sophomore album, where a unique brand of power-pop and rugged country rock ideas collide with much help from a large handful of esteemed musicians on hand.

Winstrom starts the listen with “Come To Texas She Said”, where his unique tenor vocals are aligned with playful keys from Peggy Hambright and warm pedal steel from Dave Ball on the curious power-pop opener, and “Think Too Hard” follows with some playful folk-rock tendencies that flow with a jangly, retro feel.

Elsewhere, the upbeat “What’s The Over/Under?” offers bright brass and a punchy delivery of fluid nods to Tom Petty, while “I Walk In Circles” resides in calmer territory where plenty of grace exists as an orchestral slant makes an indelible impression. “Loose Change”, a particularly charming tune, brings Sarah E. Smith in on backing vocals as a throwback rocker unfolds with a meticulous but playful nature.

Near the end, “The Crystal Ball” relies heavily on mood as subdued beauty radiates warmth amid strategic organ, and “Kilimanjaro” finishes the listen with a heavily and carefully textured execution of power and melody where the intricate electric guitars leave us wanting more.

A fine album that sometimes reminds us of Cheap Trick, The Byrds, The Beatles, Elliott Smith or even Neil Young, Circles offers one interesting track after another, where Winstrom and company follow a very atypical and always exciting path on their varied rock journey that we’re all better off for being a part of.

Travels well with: Joe Jackson- The Duke; The Jayhawks- XOXO

Test And Roy Campbell

Test And Roy Campbell

577, 2020

8/10

Listen to Test And Roy Campbell

TEST were a collective outfit consisting of Tom Bruno (drums), Matthew Heyner (bass), Sabir Mateen (alto/tenor sax, flute, clarinet) and Daniel Carter (alto/tenor sax, trumpet, flute) and here a live set is captured from 1999, where Roy Campbell’s trumpet joins along on the only known recording where Campbell plays with TEST.

The entire album is just one 47 minute track, that starts busy with a flurry of chaotic brass that still manages to find a semblance of balance within the busyness. as crashing percussion and pounding drums complement the frenetic energy.

Though there are fleeting moments of calm- often allowing an instrument a brief solo- for the most part this is wild free jazz where roars from the audience signal just how magical the setting was.

A fascinating display of improvisational talent, this is a dizzying delivery of experimental and avant-garde ideas that no one else could replicate quite like this, and it documents a very exciting time in the life of these musicians.

Recorded April 16, 1999 at The Hint House in Harlem, NYC by Matt Mottell, the sound quality here is excellent, and the spontaneity flows in a way that seems as if the performance is happening right in front of you. Fans of art-rock, noise-rock and, of course, jazz, will be captivated, to put it mildly.

Travels well with: Flaherty/Colbourne/Hunt/Roberson- Borrowed From Children; Jorma Tapio & Kaski- Aliseen

Ryan And Pony

Moshi Moshi

Pravda, 2020

8/10

Listen to Moshi Moshi

A duo comprised of Ryan Smith, who has been handling lead guitar duties in Soul Asylum since 2016, and his wife Pony, who also plays in The Melismastics (as does Ryan), Peter Anderson, of Run Westy Run and The Honeydogs, sits behind the drum kit on these varied tunes from all star line up of Twin Cities rock vets.

“Starry Eyes” opens the listen with plenty of modern indie-rock appeal as much dreamy melody enters the pop friendly setting, and “Start Making Sense” follows with a buzzing approach of stadium rock ideas that flow with power and tunefulness.

At the mid point, “Cinematic” certainly brings soaring female vocals to the club friendly, EDM display, while “First Night” benefits from Pony’s bouncy bass lines as darker textures illustrate much diversity with an anthemic quality. “Low”, an album highlight, then recruits a very stylish and atmospheric delivery of pop and rock ideas that are as timeless as they are memorable.

“Come Find Me” and “I Would Die 4 U” finish off the listen on a high note, where the former takes nods to the ‘80s with playful synth and elegant strings, and the latter finds a firm beat amid a punchy execution in the throbbing Prince cover that we’ve never heard quite like this.

The Minneapolis/St. Paul scene is full of top notch rock bands right, (i.e. Porcupine, The Persian Leaps) and we can certainly add Ryan And Pony to that list as their eclectic and very precise blend of punk, dance, Brit and garage rock make Moshi Moshi a debut worth of plenty of spins.

Travels well with: The Persian Leaps- Smiling Lessons; Sugar Stems- Only Come Out At Night

Rich Krueger

The Troth Sessions

RockinK, 2020

8/10

Listen to The Troth Sessions

Rich Krueger made me a fan pretty quick with 2018’s NOWthen, and this 3rd album from the neonatologist strips the setting back to just his guitar, vocals and very imaginative mind.

“True True Love” starts the listen with Krueger’s playful, warm acoustic guitar alongside his soothing, inviting vocals where his always vivid storytelling immediately draws us in to the slightly southern influences, and “Charlie Guitar” follows with a dreamy landscape of flowing melodies in Krueger’s creative vision that touches on the blues.

In the middle, “Amazing” moves with cautious beauty and silky smooth singing, while “The Ballad Of Mary O’Connor” brings us back to September 11, where his eloquent wordplay tugs on the heartstrings of this very tragic day. “The One You Love”, one of the album’s best, then offers timeless singer-songwriter prowess where Krueger makes his craft seem effortless in his vast, folk friendly skill.

Close to the end, “There’s A Wideness In God’s Mercy” recruits a gospel angle amid the emotive delivery, and “Heaven” exits the listen with an adventurous quality that abruptly shifts into a speedy finish of vocal acrobatics.

Culled from demos recorded in 2002, though Krueger didn’t release his debut until 2018, his interest in playing music goes back many decades, and here the doctor proves that his humble folks songs settle in like an old friend with a familiar, comforting and wise execution.

Travels well with: Peter Stampfel & The Bottle Caps- Demo ‘84; Gerry Spehar- Anger Management

Diana DeMuth

Misadventure

Thirty Tigers, 2020

9/10

Listen to Misadventure

Although this is Diana DeMuth’s debut album, you certainly wouldn’t know it from the strong song craft and outstanding delivery as the songstress offers rich, intimate and often stirring song craft with Misadventure.

DeMuth starts the listen with the warm piano balladry of “Hotel Song”, where her soulful and inimitable pipes soar alongside bright percussion, and “Into My Arms” follows with intricate acoustic guitar fueling the playful folk delivery as drums add a firm beat to the pop friendly melodies.

There’s 10 tracks included, and it’s clear that she paid equal attention to them all, as “Steady Rolling” unfolds with a bare beauty as her pipes shine with a flawless delivery, while “Signs” glides with a breezy, rhythmic approach. “Photographs”, a particularly powerful tune, then pairs DeMuth’s versatile vocals with elegant strings in a nearly cathartic landscape.

“In Ivory White” and “Already Gone” bookend the listen, where the former is a moving display of precise restraint, and the latter gets pretty and expressive with DeMuth’s fingerpicking complementing the exceptional bass prowess.

Somewhere between indie-folk, Americana and even traces of country, DeMuth turns in a stunning debut, and it will be exciting to see her subsequent work.

Travels well with: Jess Jocoy- Such A Long Way; Lynne Hanson- Just Words

Staraya Derevnya

Inwards Opened The Floor

Raash, 2020

8/10

Listen to Inwards Opened The Floor

An Israeli and British ensemble who make sounds that you’re not likely to hear anywhere else, Staraya Derevnya make noise that’s steeped in psychedelia, but is also open to punk, folk, Krautrock and plenty of other atypical ideas on this 4th album.

“On How The Thorny Orbs Got Here” starts with talking in a mysterious, nearly sci-fi landscape of blurry repetition, hypnotic guitar lines and a psychedelic haze of jazz nods, and “‘Chirik’ Is Heard From The Rooftops” follows with an eccentric experimental delivery where Tom Wheatley’s plucked double bass and Maria Blatstein’s playful piano populate the wordless vocals and post-punk influences.

An album where no tracks resemble each other- or anything anywhere for that matter- “Hogweed Is Done With Buckwheat” plows forward with agile percussion, a mix of whispering and various yelping, and an overall ominous quality to the synth noises and fuzzed out folk stabs, while “Burning Bush And Apple Saucer” takes on a more minimalist approach where gentle vocals align with cello from Ran Nahmias, giving the track a mesmerizing, orchestral appeal.

“Forgot What Was Important” ends the listen just as adventurous as it started, where ambience and mood are key in an exit that sounds like it might come over the AM dial yet with some modern electronic layering and synth prowess.

An extremely unique collaboration that’s lyrically inspired by Saint Petersburg poet/author Arthur Molev, Gosha Hniu has been the driving force behind Staraya Derevnya since their inception, and the dozen players he’s accompanied with here help illuminate an ultra-creative vision of iconoclastic and artistic song craft.

Travels well with: Four Tet- New Energy; Waterless Hills- The Great Mountain

Modasaurus

4k

Self-Released, 2020

8/10

Listen to 4K

A jazz fusion quartet who have been together since 2016, Modasaurus collects James McGowan, Jamie Holmes, Alex Moxon, and JP Lapansee and their respective talents to an extremely varied and exciting 7 tunes here.

“The Four Kids (4K)” starts the album with bright piano from McGowan as playful percussion and clever guitar work enter the rhythmic setting, and “Hey Bud!” follows with beauty and restraint from the rhythm section of Lapansee and Holmes that flows alongside the piano acrobatics.

Further along, the Celtic influenced “Crazy Ceilidh” moves with both soft and loud dynamics in the guitar fueled atmosphere that recruits harmonica from Normand Glaude, while “Khaleegy”, which was recorded live off the floor, brings a cinematic quality to the diverse Middle-Eastern ideas.

“Seen My Jawa?” exits the listen with much atmosphere, as it builds into a swift jazz album highlight filled with a haze of quick percussion, dancing keys and proficient guitar work from Wayne Eagles.

McGowan is also an educator, and the rest of Modasaurus were previously his students, and also play in other outfits. An extremely eclectic sophomore album, they don’t shy away from rock, funk, classical, Celtic, Middle-Eastern, Latin and plenty of world music swagger on this top notch fusion effort.

Travels well with: Fawn Fritzen- How To Say Sorry And Other Lessons; Sharon Isbin- Affinity

Thomas Csorba

Thomas Csorba

Highway Kid, 2020

9/10

Listen to Thomas Csorba

The Texas singer-songwriter Thomas Csorba has done much in his relatively short existence that involves playing shows while in high school and recording albums in college. Here he takes help from The Texas Gentlemen across a handful of western and dust bowl blues influenced tunes, as the youngster illustrates much depth and skill.

“I Want” starts the listen soft and soulful, where expressive vocals align with bare beauty that includes an organ, and “Over The Garden Wall” follows with a rich, folk-influenced spirit of cautious storytelling that’s piano friendly and a bit more rugged yet with plenty of melody.

Deeper into the listen, the stirring pedal steel of “Heartache After Heartache” helps illuminate the Americana spirit, while “Expectation Runs” continues this careful song craft with a slow burning affair of delicate guitar and brushed percussion. “Another Man In Me”, the album standout, then soars with breezy song craft that resonates with a timelessness that’s so well done, it could make anyone a Csorba fan.

Near the end, the retro quality of “What’s Left Of Mine” channels the spirit of Dylan or Guthrie in Csorba’s creative vision, and “Plastic Jesus (Reborn)” exits the listen sparse but highly memorable with intricate guitar picking alongside some playful twang on the exceptional cover.

Even though he’s just 23, Csorba plays like an old soul here, with both intimacy and playfulness that’s constructed carefully and executed flawlessly. Though most of us have never heard of Csorba, one listen of this record and you certainly won’t forget who he is.

Travels well with: Elise Davis- Cactus; Carolina Story- Dandelion

Airforce

Strike Hard

Pitch Black, 2020

8/10

Listen to Strike Hard

The UK old school outfit Airforce have made quite an impression since reforming in 2016, and this 2nd album after reforming only cements them as masters of the hook friendly, riff heavy and soaring landscape sort of metal that sounded as great in 1986, when they began, as it does today.

“Fight” starts the listen ‘80s influenced guitar riffage that’s complemented by the well sung vocals in a powerful yet melodic classic metal sort of way, and “Die For You” follows with a firm crunch amid a thicker approach that’s no less impactful in it’s nearly operatic delivery.

The middle tracks are some of the best, including the mesmerizing “Finest Hour” that swirls with a charged, incendiary rhythm section with an anthemic quality, while “Don’t Look In Her Eyes” displays proficient guitar work in the muscular hard rocker. “War Games” then illustrates both soft and abrasive tendencies in a ballad meets restrained rock approach that’s both rich and adventurous.

Deeper tracks include “The War Inside”, which sounds right in mid ‘80s in a Motley Crue meets Dio sort of way, and “Faith Healer”, the CD bonus track, weaves guitar acrobatics around propulsive drumming and top notch singing that draws parallel to Bruce Dickinson.

At their inception, Airforce consisted of Chop Pitman (guitar), Tony Hatton (bass), and Doug Sampson (drums), who was previously in Iron Maiden. These days, Flavio Lino is handling vocals and doing an exceptional job across these retro hard rockin’ tunes that are built well and executed flawlessly.

Travels well with: Sinsid- Enter The Gates; Balls Gone Wild- HIgh Roller

Grant Pavol

About A Year

Accidental Popstar, 2020

8/10

Listen to About A Year

A rising Philadelphia singer-songwriter, on this first album from youngster Grant Pavol, he delivers like a seasoned vet as his song craft resonates with a reflective, eloquent quality that seems wise beyond his years.

Pavol starts the listen warm and initially bare “Bones” before playful percussion enter a dreamy, layered setting, and “Franklin Field” follows with an imaginative singer-songwriter template amid some well executed synth.

Halfway through, “Stay Awake” offers a pensive and soft display of folk influenced beauty with strong vocals, while “Words To Say” recruits some electro-pop ideas into a hazy and highly melodic display. “January”, a particularly creative tune, then shimmers with a playful indie-rock quality amid gentle ebbs of calm versus louder bouts of fuzzed out noise.

Close to the end, “Slow Blues For John Fahey” indeed brings blues ideas to the cautious instrumental, and “Aquilifer” exits the listen with jangly strumming alongside a soaring backdrop of soothing tunefulness.

A dorm room album that was recorded during Pavol’s freshman year at college, at just 20 years old he parallels the greatness of legends like Elliott Smith and Bright Eyes. An incredible debut LP, just think of what he’ll be capable of in the coming years.

Travels well with: Conor Oberst- Salutations; Grant Earl LaValley- A Brighter Day

Sinsid

Enter The Gates

Pitch Black, 2020

8/10

Listen to Enter The Gates

The Norwegian metalheads Sinsid return with a sophomore album, where plenty of ‘80s nods can be found in their fist pumping, chorus shouting and eclectic approach to abrasive music.

The aptly titled “Rise Of Fury” starts the listen with sturdy riffage and thumping drums as the instrumental lays the foundation for the barking vocals of “Enter The Gates”, where an the old school metal setting unfolds with a biting, powerful delivery that’s not short on solos.

An album with much variety, “Point Of No Return” leads with strummed acoustic guitars before building into a chunky, melodic, thick rocker, while “666” recruits a hint of blues to the soaring, anthemic hard rock. “Dawn Of Night”, the album’s best, then displays meticulous songwriting where a blistering solo finishes out the nostalgic landscape.

Near the end, “Roll The DIce” leads with an atmospheric, haunting quality that eventually spends 6 minutes covering several ideas around metal where sing-alongs are present, and “Freedom Of The Sea” exits the listen with a chugging intensity as the dynamic rhythm section guide the scorching exit that even brings some punk strategies to the vocals.

An album with something for everyone if you’ve got an ear towards retro metal, it’s not hard to think of legends like Megadeth, Dio and Judas Priest, when listening to Enter The Gates, and I doubt anyone is going to have a problem with that.

Travels well with: Airforce- Strike Hard; Balls Gone Wild- High Roller

Digital Leather

New Wave Gold

No Coast, 2020

9/10

Listen to New Wave Gold

The brainchild of multi-instrumentalist Shawn Foree, for nearly two decades the artist has meshed New Wave, synth-punk, pop and psychedelia in very impressive ways across a massive catalog of music as Digital Leather. This installment comes from his Nebraska apartment, where Foree took two years to birth an aptly titled masterpiece of sonic acrobatics.

“Dark Ages” starts the listen unexpectedly with a bit of Americana lingering in the post-punk fueled electronic flavored rock, and “Born To Win” follows firmly indebted into the ‘80s with its playful synth amid darker tones and deep vocals.

With 18 tracks included, there’s much to enjoy here, and it’s quite varied, including the club friendly “Sad Sap And The Infinite Ego”, as well as the ambient, nearly prog-like “When I Blink”, which benefits much from minimalism. “Power Quest”, an album highlight, then bursts with a lively buzzing and nearly industrial approach that would pair well with a Ministry record.

Closer to the end, “Iconography” brings electro-pop ideas with plenty of grit, while “V” is a haunting and mysterious leap into seedy melodies and an almost dreamlike display. “Sinking Ship” then exits the listen with no shortage of shimmering synth and dark wave nods.

Certainly artistic, heavily dissonant and sometime abrasive but not without ominous melody, Digital Leather can easily soundtrack a dance club as they could a mosh pit. If you’re unfamiliar, this would be a great place to start, and if you’ve been following along, you’ll be plenty impressed.

Travels well with: The Faint- Capsule 1999-2016; Ritual Howls- Their Body

The Flying Horse Big Band

Florida Rays

Flying Horse, 2020

9/10

Listen to Florida Rays

The Flying Horse Big Band return with a 7th album, where they rework classic tunes from Ray Charles and others and bring in guest artists like Rob Paparozzi, Vence Villastrigo, DaVonda Simmons and Khristian Dentley to the party.

“One Mint Julep” starts the listen with bright brass, frisky percussion and a bouncy setting of highly rhythmic jazz that benefits much from Ryan Devin’s tenor solo, and “Let The Good Times Roll” follows with a busy display of festive sounds where soaring vocals from Paparozzi enter the stylish atmosphere.

Further along, “Lonely Avenue” brings a soulful delivery from Simmons to the dynamic musicianship along with playful backing vocals and a trombone solo from Jeremiah St. John, while “What’d I Say” moves with a big band influence as rowdy horns mesh well with Simmons’ seasoned pipes. ”Watermelon Man”, an album highlight, then recruits spirited guitar work alongside plenty of grooves and excellent percussion by Marty Morell.

“Busted” and “Unchain My Heart” finish the listen, as the former showcases Paparozzi’s vocal acrobatics, and the latter gets busy with Villastrigo’s singing highlighting the precise execution.

Jeff Rupert leads the 18 piece band here, and he navigates the ensemble in and out of glorious textures and incredible song craft that would make anyone a fan out of Ray Charles, if for some reason you weren’t already.

Travels well with: Ashley Locheed & Chris Rottmayer- So In Love; Matt DeMerritt- Fool’s Journey

Le Grand Sbam

Vaisseau Monde

Dur et Doux, 2019

8/10

Listen to Vaisseau Monde

A French collective committed to retaining the creative, diverse and experimental side of music, Le Grand Sbam make art like no one else today, where erratic and unclassifiable noises gel together in some hybrid prog-opera that sounds like it was created under a circus tent in another dimension.

“Dins o Sbam” starts the listen with a manic delivery of keys, percussion and rabid vocals in the completely unorthodox opener, and “Les lotus ont fleuri, je suis assis a cote d’un elephant aux oreilles usees” is nearly as long as its title as the 12 minute opus recruits spacey sounds, fuzzed out rock, and operatic-ish singing that can get extremely bare, but also furiously busy with unconventional patterns.

The back half of the listen offers us “Woubit”, which manipulates space well with vocal effects and prog-like ambience, and “Vishnu Foutroline” ends the listen percussively strong and dynamically challenging, theater-esque and avant-garde friendly.

After my first listen here I was confused. The second trip had me intrigued, albeit in a timid fashion. By the third venture I was a fan, as Le Grand Sbam offer a truly exceptional and artistic slant on today’s version of indie-rock that anyone with an ear for the adventurous will appreciate.

Travels well with: Hidden People- Tambour Cloche; Fantomas- The Director’s Cut