H.C. McEntire

Eno Axis

Merge, 2020

8/10

Listen to Eno Axis

Also a member of Mount Moriah and recently a back up singer in Angel Olsen’s band, H.C. McEntire returns with her sophomore album, where her unique brand of Americana comes with help from Luke Norton, Casey Toll, Daniel Faust, Nathan Bowles, Allyn Love, Mario Arnez and Justin Morris.

“Hands For The Harvest” starts the album with warm vocals from McEntire as calm keys set the cautious, pretty Americana mood, and “Footman’s Coat” continues this approach with a fuller display of lush beauty and breezy melodies alongside eloquent storytelling.

Closer to the middle, “River’s Jaw” brings some soulful rhythm to the darker atmosphere with Norton’s strong piano prowess, while “One Eye Open” is a dreamy display of timelessness that we will never tire of. “True Meridian”, a particularly noteworthy tune, then moves with gorgeous tension not unlike a folk tune from a past century, but that still sounds relevant today.

At the end, “Time, On Fire” is a vocally strong and musically precise execution of reflective alt-country that’s poetic with strategic twang, and “Houses Of The Holy”, a Led Zeppelin tune, finishes off the listen amid country and gospel nods that are nearly cathartic in their sublime vision.

McEntire has had a very atypical career that’s spanned punk and country sounds, and this effort was birthed by an entirely different process than her first solo album, where she was off the road and residing in her 100 year old farm house, gathering wood and ideas for what would become this very stirring, gritty and universally engaging adventure.

Travels well with: Ruby Boots- Don’t Talk About It; Steve Earle & The Dukes- Ghosts Of West Virginia

The Blankz

I’m A Gun/Bad Boy

Slope, 2018

8/10

Listen to I’m A Gun/Bad Boy

The Phoenix rockers The Blankz give us a pair of their infectious and punk filled tunes on this 3rd of nine 7” records they will record before assembling them all onto an LP compilation.

Side A brings us the percussively strong and highly melodic “I’m A Gun”, which comes with an instant sing-along quality where synth stabs make it even more memorable in its bouncy, pogo friendly spirit that’s on par with legends like Ramones or The Spits.

The flip side, “Bad Boy”, makes a dent, too, with some pleasant New Wave moments amid the tuneful pop-punk meets garage rock that’s still got plenty of attitude in its precise execution.

Though they formed in 2017, The Blankz wasted no time with several releases in 2018, including the excellent Getting Over You. It appears things have quieted down a bit for them in the last year, however, with songwriting talent like this present, it’s likely new music is right around the corner, or at least let’s hope so.

Travels well with: The Prozacs- Ambivalence; Suede Razors- Razor Stomp

Roadside Bombs

Best Of The Best

Pirates Press, 2017

9/10

Listen to Best Of The Best

A picture disc with 2 tracks that would be on their top notch 2018 record Rise Up, Roadside Bombs pay tribute to the late, great Maximum Rock’n’Roll columnist Bruce Roehrs here, whose mug is plastered across one side of the record.

Side A, “Best Of The Best”, is a speedy punk rock gem with harmonizing backing vocals that’s not lacking in any melodies as the band make the most of the 2 minute track with an instantly memorable feel.

Side B’s “45” takes a similar approach with fiery drumming alongside an infectious chorus that flows with an anthemic quality, as Roadside Bombs brings bits of street punk and Oi! into the propulsive formula.

A supergroup consisting of members of The Muggers, Engage, Screeching Weasel and The Quitters, Roadside Bombs have cemented themselves as a leader in the area of gritty and melodic modern day punk rock, as this release further illustrates.

A perfect memorial for the life long punk enthusiast Roehrs, who passed away in 2010, there’s little doubt he’d be spinning this one alongside Agnostic Front.

Travels well with: Territories- When The Day Is Done; 45 Adapters- They Call it Justice

The Georgia Thunderbolts

The Georgia Thunderbolts

Mascot, 2020

8/10

Listen to The Georgia Thunderbolts

A new outfit from Rome, Georgia, The Georgia Thunderbolts are steeped in all the hallmarks of Southern Rock’n’Roll, where blues, gospel and classic rock enter their powerful formula.

The EP opens with the warm acoustic guitar of “Looking For An Old Friend”, as firm percussion and soaring vocals enter the country influenced setting that’s got plenty of soul, too, and “So You Wanna Change The World” follows with an initially thicker approach of Southern rock, before finding a calmer but no less impactful place to reside that alternates between crunchy and soothing ideas.

The back half of the quick listen offers the dynamic interplay of “Spirit Of A Workin’ Man”, which is a more forceful display of gritty rock that’s also grunge friendly, and “Set Me Free” finishes off the listen with plenty of rhythm, grooves and memorable riffs.

A band that would fit in well with ‘70s rock just as they would the mid ‘90s post-grunge period, The Georgia Thunderbolts are off to an impressive start with this very carefully executed debut that’s certain to bring them legions of new fans.

Travels well with: West Of Corey- Slammed; Les Nuby- Clouded 

Giuda

Get It Over/Kidz Are Back 7”

Got Kinda Lost, 2018

8/10

Listen to Get It Over/Kidz Are Back

A first time US pressing of Giuda’s first single and a repress for the first time since 2012, the Got Kinda Lost label even brings in new artwork on this highly sought after piece of wax with a pair of the Rome outfits best proto-punk tunes.

“Get It Over” starts the listen drenched in retro glam-punk, where their power-pop nods make it unclear if one should enter the dance floor or the pit. The tune thumps with a rowdy pulse and instantly memorable chorus that’s not shy on synth or group vocals, either, adding further to its allure.

“Kidz Are Back” is more firmly rock’n’roll oriented, as bristling guitars and a kinetic rhythm section complement the rugged yet melodic vocals that brings to mind names like Chuck Berry and Eddie & The Hot Rods.

Limited to just 700 copies (500 on black, 200 on opaque blue), if you missed this one the first time, you’re in luck cause this repress is still available and well worth the investment.

Travels well with: Mama- Eye In The Sky; Suede Razors- All The Hits… And Misses

RB Morris

Going Back To The Sky

Singular, 2020

8/10

Listen to Going Back To The Sky

A poet, songwriter and actor, RB Morris is a man with many talents, and with Going Back To The Sky, his self-described ‘dustbowl record’, he tells stories of his travels out west and the characters he’s crossed paths with during his artistic pursuits.

“Prelude I” opens the album with gentle acoustic guitar and warm harmonica on the brief instrumental that sets the rural mood, and “Red Sky” follows with inviting vocals from Morris as the music moves with a soothing, Americana feel that includes an aching fiddle.

Near the middle, “Montana Moon” offers a stylish delivery of folk like ideas amid some classic rock spirit, while “That’s The Way I Do” shuffles with a playful approach where brushed percussion and the talk/singing brings to mind Woody Guthrie. “Once In A Blue Moon”, one of the album’s best, then brings a soft, old time feel to the cautious climate where a violin and mandolin are present and used strategically.

Closer to the end, “Prelude II” is another short instrumental of gentle beauty that places much emphasis on ambience, and “Walking Song” exits the listen bare, with just delicate guitars and subtle keys alongside the timeless folk template.

It’s not hard to think of Bob Dylan, Leonard Cohen or Tom Waits when listening to Going Back To The Sky, and though Morris often sings in a country inflected tone, there’s also moments of jazz and Mariachi to be found. It’s no surprise that Steve Earle and Lucinda Williams are fans of Morris, and it seems to me that he’ll be adding many more new admirers of his song craft very soon.

Travels well with: Justin Wells- The United State; Graham Bramblett- The Great Inbetween

Songs For Snakes/If It Kills You

Split 7”

Self-Released, 2017

10/10

Listen to Split 7”

A split effort from a pair of bands residing from very different parts of California (San Francisco and Bakersfield), Songs For Snakes and If It Kills You have plenty of ideas about music in common, as they both pen one dynamic and exciting tune here.

Songs For Snakes deliver the outstanding “Cobalt Blue”, where a driving pace of energetic melodies and mild post-punk influences hint at influences like J Robbins or even Naked Raygun on this perfect ‘90s rooted tune. The San Francisco trio already impressed me with their album Crystal Vapour Figure, and this track is only making me a bigger fan.

“A Lifetime On The Phone” is If It Kills You’s contribution, and it’s a chunkier tune where post-hardcore nods are certainly not absent, as the tune is drenched in fuzz, thick drumming and an intensity that still shimmers with plenty of pretty noise that tips it hat to Dischord Records.

A great place to start if you want to test the waters of these two criminally overlooked outfits, I’d be willing to bet you’ll be hunting down their respective albums after listening to this split.

Travels well with: Bob Mould- Sunshine Rock; Porcupine- What You’ve Heard Isn’t Real

Justin Wells

The United State

Singular, 2020

9/10

Listen to The United State

Justin Wells cut his teeth as the frontman for the Southern rockers Fifth On The Floor, who enjoyed a well received decade long existence that included 4 strong albums. Now on his own, Wells returns with this sophomore solo effort, where his well thought out song craft isn’t short on rugged melody as he weaves in and out of rich textures.

Wells makes an impression immediately with the brief atmospheric pedal steel of “You’ll Never Know, Dear, How Much I Love You”, which segues into his warm vocals that steer a very soulful country template of “The Screaming Song”, as well as the bright alt-country of “No Time For A Broken Heart”.

Halfway through, “After The Fall” moves cautiously with much power in the organic display, while “It’ll All Work Out” recruits plenty of rhythm amid the playful delivery where intricate guitar enters blues territory. “Walls Fall Down”, the album standout, then flows with breezy melodies in the sort of timeless execution that reminds us of names like Petty, while injecting a chorus you won’t forget anytime soon.

Close to the end, “The Bridge”, the last formal track, is a dobro friendly tune with plenty of backing vocals while emitting aching beauty, and the soothing climate of “Farewell, Mr. Hopper” exits the listen with just 3 voices in a short burst of a gospel like hymn.

Somewhere between country, roots and Americana, Wells is nothing if not meticulous, and the strong lyrical content here helps makes The United State an adventurous, eloquent and exceptional listen that deserves much attention.

Travels well with: Adam Carroll- I Walked In The Shoes; Karen Jonas- The Southwest Sky And Other Dreams

Ocampo, Ocampo + Watt

Apparatus/Better Than A Dirtnap

Org, 2019

8/10

Listen to Apparatus/Better Than A Dirtnap

While I don’t think any introduction for Mike Watt is necessary, it’s important to note that the legend has been quite prolific lately, with a handful of collaborative projects that never disappoint.

The double Ocampo’s in the name here, though, refers to Devin and Renata Ocampo, and Devin’s got a long history of playing music with bands like Beauty Pill, Medications, Smart Went Crazy and, currently, The Effects.

The trio came together to play the 25th anniversary of the DC venue The Black Cat, and here they offer a pair of tunes on a very rare 2019 Record Store Day 7”

“Apparatus”, an Ocampo tune, flows with a shimmering post-punk meets post-rock quality as hypnotic guitar work and agile percussion highlight a very thoughtful climate that certainly takes nods to Dischord Records, which is where most of Ocampo’s bands have called home.

The B-Side brings us the playful Watt original “Better Than A Dirtnap”, where group vocals and strong rhythm bring an atmosphere you could dance to, as the setting becomes quite unpredictable and atypical- much like everything Watt has been a part of.

The members all recorded their parts across the country, but it all flows together seamlessly on this unique one off record that’s limited to just 1000 copies. Diehard fans of Watts will certainly appreciate the novelty here, and those familiar with Ocampo’s history will not be surprised by his consistently strong song craft.

Travels well with: Jumpstarted Plowhards- Round One; Fitted- First Fits

The Safes

A Tribute To Juliana Hatfield

American Laundromat, 2018

9/10

Listen to A Tribute To Juliana Hatfield

When Frankie O’Malley and Patrick O’Malley, The Safes, were offered a spot on the American Laundromat label, which has served as a place for plenty of great tribute records, the band brought up the idea of covering their 2 favorite tunes from the legendary Juliana Hatfield.

After getting the green light, The Safes hooked up with the almighty Steve Albini to flesh out the record, and they even reeled in Material Issue’s Ted Ansani and Mike Zelenko to be the rhythm section.

“Universal Heartbeat”, a tune that goes back to 1995, starts the listen with fluid power-pop as keys, fuzzed out guitars and a little bit of jangle enters the upbeat and playful atmosphere that can get a bit grungy, too. Thankfully, The Safes keep the chorus intact, cause it’s one you won’t forget anytime soon.

The B-Side, “I See You”, from Hatfield’s debut 1992 album, incorporates some garage rock spirit alongside a hooky chorus and plenty of pop spirit as the O’Malley’s really make the song their own.

This one’s only available on vinyl and limited to just 500. Hatfield herself really enjoyed these interpretations, and you will, too, if you’re a fan of glorious power-pop that also flirts with garage rock and alt-rock.

Travels well with: The Posies- Solid States; Teenage Fanclub- Thirteen

Analog Society Players

Tilted

Ropeadope, 2020

8/10

Listen to Tilted

This is shaping up to be a busy year for the Analog Players Society, as Tilted is one of two records they’ll release in 2020. On this outing, the quartet of Donny McCaslin, Orrin Evans, Dezron Douglas and Eric McPherson offer a live session of purely improvised magic, where no overdubs and no cuts exist.

“One Note Samba”, an Antonio Carlos Jobim tune, starts the listen with playful keys from Evans as McCaslin’s strong sax prowess adds bouts of soulfulness amid the lively jazz setting that’s dynamic and unpredictable, and “Epistrophy”, by Thelonious Monk, follows with a hypnotic approach as McPherson’s deft drumming anchors the thrilling and cinematic album highlight.

The final track and sole original, “Freedom Is, But A Fraction Of Humanity!”, moves initially calmer, but builds into a fascination display of controlled chaos as each instrument takes their moment in the spotlight with precise manipulation that leaves the listener in awe of its quivering, often furious, beauty.

An extremely well done recording that few, if anyone, could replicate, it will be exciting to see what the next release of the Tilted series offers, as well as their forthcoming October album, Soundtrack To A Nonexistent Film.

Travels well with: Kenny Kotwitz & The LA Jazz Quintet- When Lights Are Low; Jason Kao Hwang- Human Rites Trio

Chad Smith & Josh Klinghoffer

Jeepster/Monolith

Org, 2019

8/10

Listen to Jeepster/Monolith

For the uninitiated, Chad Smith is the drummer for a band you might have heard of called Red Hot Chili Peppers, while Josh Klinghoffer also had a decade long stint playing guitar for Red Hot Chili Peppers and currently heads up Dot Hacker and also records as Pluralone. Together, the pair cover two T Rex classics on this limited 7” for Record Store Day 2019.

“Jeepster” starts the listen percussively strong with plenty of rhythm in the agile guitar work as smooth, tuneful vocals from Klinghoffer guides the crisp retro rocker.

“Monolith” is a quieter affair, where gospel friendly background vocals complement the light and dreamy delivery as cautious drumming and spirited guitar and bass (both by Klinghoffer) makes an impression that lasts long after the tune finishes.

Limited to 3000 copies, this was recorded before Klinghoffer’s departure from RHCP, and since Smith and Klinghoffer had been playing together for years at this point, their chemistry is top notch as they do justice to these timeless tracks. For fans of RHCP or any of the bands Klinghoffer has been a part of, this is worth seeking out.

Travels well with: Pluralone- To Be One With You; Dot Hacker- Inhibition

Pussycat And The Dirty Johnsons

Beast

Hound Gawd!, 2020

8/10

Listen to Beast

A visceral, rowdy and exciting trio from Southern England, Pussycat And The Dirty Johnsons have a knack for grabbing you by the throat with their trash punk ways, and these 12 new tracks continue that theme with no shortage of power and adrenaline.

“Lying In My Bed” starts the listen with a massive amount of fuzz lingering in the bristling garage rocker, and “Doin’ It” follows with a punk spirit amid strong, bluesy riffs, much strength and an energetic delivery.

Elsewhere, “Stale” recruits propulsive drumming alongside a healthy dose of incendiary, groove friendly rock’n’roll, while “Knee Jerk” uses quiet versus loud dynamics in the speedy anthem. “She’s An Orgasm”, one of the album’s best, then displays wild vocal acrobatics in its sleazy, filthy execution.

At the end, “Beast Will Out” is both grit and melody, and “Hey Honey’ exits the listen with a more subdued approach to their furious ways that’s actually kind of pretty in a Velvet Underground sort of way.

Front woman Puss Johnson is on fire here, as her howling, screeching and raw yet tuneful vocals are nothing if not inimitable, and Filfy Antz and Dirty Jake certainly hold their own on this appropriately titled, reverb heavy and volatile effort that kind of reminds us of the offspring of Bikini Kill and The Cramps.

Travels well with: Jon Spencer- Spencer Sings The Hits; Foxy- Can’t Stop Us/X-Ray Spex Tribute

Rena Strober And Friends

Imagine That!

Self-Released, 2020

8/10

Listen to Imagine That!

The award-winning Broadway, film and TV actress Rena Strober brings in some unexpected but pleasant company on this family album, where they interpret songs that were sung on Sesame Street and penned by Joe Raposo and Jeff Moss.

“Somebody Come And Play” starts the listen with elegant piano before quickly shifting to a bright pop-rocker where Strober’s soaring pipes guide the timeless melodies, and “Sing” follows with sublime piano balladry as Strober performs vocal acrobatics and kids provide background singing.

Further along, some sitcom TV legends are on hand as French Stewart and Jason Alexander contribute their pipes on the bouncy, comical fun of “I’m Pretty/I’m An Aardvark”, while “I Don’t Want To Live On The Moon” unfolds like a tune in a fairy tale as strings add much to the dreamy setting. “Candy Hearts & Paper Flowers”, an album standout, is then a duet between Strober and Alexander in a waltz like environment that is certainly a feel good tune.

Deep tracks bring us the Americana influenced “Believe In Yourself” and the playful “High Middle Low”, where opera singing from Cristina Jones, a washboard, saw, tuba and banjo and Michael-Leon Wooley are in attendance and welcomed. “One Small Voice” exits the listen with much participation from children as well as guest vocals from Marleena Barber and Deborah Grausman that finish the album as radiant as it started.

Also an advocate for the blind, Strober is donating a portion of the proceeds from this album to the Guide Dogs of America and the Gavin R. Stevens Foundation, who are focused on finding a treatment and cure for blindness. So, not only do you get glorious renditions of songs from childhood, but it also supports an important cause.

Travels well with: Rolie Polie Guacamole- Avocado; Mister G- Fireflies

Bobby Rush

Rawer Than Raw

Deep Rush/Thirty Tigers, 2020

8/10

Listen to Rawer Than Raw

The Grammy winner Bobby Rush is in fine form here, as the blues legend pays tribute to legendary artists from his home of Mississippi, as well as offering 5 originals in a stripped back, acoustic setting.

“Down In Mississippi”, a Rush tune, starts the listen with warm harmonica as his smokey, soulful vocals highlight the bare blues setting, and “Hard Times”, by Skip James, follows with precise guitar plucking as Rush’s storytelling flows like an improvised front porch session.

Near the middle, Willie Dixon’s playful “Shake It For Me” moves with gritty rhythm, while “Sometimes I Wonder” is a sparse offering where a rugged intimacy exists in the original. “Let’s Make Love Again”, the album’s best, then gets a bit busier with foot percussion, harmonica and guitar alongside Rush’s swampy delivery on his own track.

Close to the end, “Garbage Man”, which is a firm southern anthem about losing your woman to the garbage man, was on an earlier album by Rush but appears here in its rawer form and is quite comical, and Robert Johnson’s “Dust My Broom” exits the listen with a bouncy spirit as frisky guitar work guides an energetic bluesy finish.

It’s amazing to think that Rush is well past middle age, as his one man band of guitar, harmonica, voice and feet illuminate these classics and originals in a light that no one else could with a strong personality and equally robust singing that hasn’t seemed to wane for the octogenarian.

Travels well with: Annika Chambers- Kiss My Sass; Joe Bonamassa- A New Day Now

The Mommyheads

New Kings Of Pop

FanFar, 2020

9/10

Listen to New Kings Of Pop

Since reforming in 2008 after a decade long break, The Mommyheads have done some amazing work, and if the cover art doesn’t make it obvious, New Kings Of Pop tackles plenty of current political and social issues, and this time it’s with an acoustic template with plenty of electronic and synth to be found, too.

“Speaker Heart” gets the album off to an acoustic guitar friendly start before loud drumming and thick guitars enter the loud versus quiet dynamics that populate their inimitable version of indie-pop, and “Speck Among Giants” continues the setting with some prog ideas amid the highly melodic template.

At the midpoint, “Ugly Things” brings in a poetic and darker approach with some articulate tension, while “Greta Thunberg” is a lush and adventurous tune about the Swedish hero that might make you chuckle, too. “Forest Hero Deconstruction”, one of the standout tunes, then finds a soulful place to reside, where a theater quality enters the dynamic and playful atmosphere.

Closer to the end, “Flame To The Moth” lands in classic rock territory, where a soaring climate with strings builds into the album highlight, and “Focus Group” finishes off the record with an artistic take on their mature pop where a healthy dose of synth makes an impression.

If you’re keeping track, this is the 3rd release from The Mommyheads in the last 2 years, and thankfully their quality is just as noteworthy as their quantity, as they explore harder textures of their formula where funk and horns enter the affair. Though they’ve always occupied a unique spot in indie-rock with their nods to Queen and XTC, I think it’s safe to say that The Mommyheads are at a creative high, and we’re all better off for it.

Travels well with: Ted Leo- The Hanged Man; Sloan- Commonwealth

Karen Jonas

The Southwest Sky And Other Dreams

Self-Released, 2020

9/10

Listen to The Southwest Sky And Other Dreams

The Virginia singer-songwriter Karen Jonas returns with another batch of well thought out stories, where her powerful vocals are more expressive than ever as her band of Tim Bray, Tom Hnatow, Seth Morrissey and Seth Brown contribute their respective talents.

“The Last Cowboy (At The Bowling Alley)” starts the album with Flamenco type guitar as Jonas lets her pretty, soaring vocals guide the country and Americana opening, and the waltz friendly “Out In Palm Tree Paradise” follows with a timeless, folk influenced setting of exceptional beauty.

At the halfway point, “Maybe You’d Hear Me Then” simmers with a soulful delivery where soft melodies align with moody pedal steel from Hnatow, while “Be Sweet To Me” moves and shakes with a rockabilly meets rock’n’roll feel that requires dancing shoes. “Farmer John”, one of the album’s best, then takes on a haunting quality with minimal instrumentation as Jonas lets her flawless vocals shine bright.

Late in the listen, “Better Days” flows with a breezy quality amid very mature, reflective song craft, and “Don’t Blink Honey” finishes off the record with warm Americana executed in her forthright, inimitable style.

This is the 5th album from Jonas, and like everything in her catalog, it’s a varied listen that flirts with blues and alt-country, too, as her sharp lyricism and top notch band offer one memorable song after another.

Travels well with: Siren Songs- Siren Songs; Jess Jocoy- Such A Long Way

Mary Lambert

Grief Creature

Self-Released, 2019

8/10

Listen to Grief Creature

Mary Lambert wears many hats- author, activist and musician- and here the Grammy nominated artist has plenty of fodder for a powerful listen, as a break up, a house fire, and working through a bipolar episode have all consumed Lambert in the last half decade.

“Fine/Finally” starts the album with soft keys in a contemplative setting as Lambert’s pretty, breathy vocals guide the expressive opener, and “Shame” follows with a quicker approach as calming percussion helps allow Lambert to show us much depth with her strong vocal prowess.

The remainder of the lengthy listen follows a similar, artistic approach, including the pop focused and immediately memorable “Write You A Song”, while “Easy To Leave”, with Maiah Manser, flows with sublime beauty and cautious, careful instrumentation.

Deeper in the listen, “Not Ready To Die Yet” recruits a folk quality to the gentle musicianship, and “If You Ever Leave Somebody” radiates a timeless emotional quality with its forthrightness and honesty. “Bless This Hell” ends the listen with help from Julien Baker on the 7 minutes of aching introspection as piano glides against Lambert’s moving pipes.

Certainly far from a feel good record, Lambert sorts through real life struggles on this cathartic and very intimate affair that’s got plenty of universal appeal both lyrically and musically.

Travels well with: Ani DiFranco- Allergic To Water; Mat Kearney- Just Kids

Dan Penn

Living On Mercy

Last, 2020

8/10

Listen to Living On Mercy

Even if Dan Penn isn’t a name you’ll recognize, you’ve probably already heard his work as he penned a handful of soul hits in the ‘60s. Though he’s preferred to work behind the scenes as a producer and writer through most of his career, he still occasionally finds time to lay down some original tunes here with esteemed collaborators like Wayne Carson, Spooner Oldham, and Bucky Lindsey, among others.

Penn starts the listen with the soothing singing and soulful soft-rock of the title track, where organs are used strategically, and “I’ll See You In My Dreams” follows with a delicate setting of dreamy backing vocals as a nearly gospel feel enters the mature atmosphere.

Closer to the middle, the jumpy keys of “I Didn’t Hear That Comin’” cultivates a playful delivery of memorable melodies, while “Down On Music Row” is a musically bare but vocally strong display of sublime beauty, where horns enter later in the tune. “Leave It Like You Found It”, one of the album’s best, then takes nods to the ‘70s with its cautious and immediately charming climate.

Near the end, “Things Happen” moves with a gentle, retro quality as spoken word enters the sophisticated landscape, and “One Of These Days” exits the listen with pretty backing vocals alongside Penn’s husky delivery.

Now pushing 80 years old and having been in the songwriting business since he was 16, Penn knows his way around a tune better than just about anyone, as blues, R&B, country and folk ideas come together in timeless, precise ways across Living On Mercy.

Travels well with: John Hiatt- The Eclipse Sessions; Rodney Crowell- Tarpaper Sky

Rey Pila

Velox Veritas

Arts & Crafts, 2020

8/10

Listen to Velox Veritas

Now a decade as a band, Rey Pila, which is Diego Solórzano, Andrés Velasco, Rodrigo Blanco and Miguel Hernández, keep refining their dark, synth-pop ways with a worldly view, where their Mexico City roots are embraced while adding in influences collected from their vast travels.

“Let It Burn” starts the listen with dark synth-rock as pop influenced ideas enter the playful, soaring atmosphere that could fill stadiums, and the aptly titled “Dark Paradise” follows with some New Wave nods meets post-punk, that almost seems like Ric Ocasek on a steady diet of New Order.

The remainder of the album doesn’t stray too far from this formula, and includes the warbly electronica of the dance friendly “Drooling”, while “Steps (Pt. 2)” trims the volume back with a dreamy quality. “Josephine”, the album standout, then bounces with a buzzing approach of fuzzed out alt-rock that’s on par with the best of genre from the ‘90s.

Closer to the end, “Danger” is indebted to the ‘80s with its firm beat, frisky synth prowess and vocal acrobatics, and "Steps (Pt. 1)” finishes out the listen in ambient territory with precise, adventurous instrumentation.

A bigger affair than their previous work, Rey Pila’s mashing of rock, trap, electro, and dancehall will appeal to fans of legends like The Cure or The Cars, as well as more recent bands like Muse or The Strokes, and certainly holds its own against all those artists.

Travels well with: Albert Hammond Jr.- Momentary Masters; Sotomayor- Origenes