Robert Ellis Orrall

467 Surf And Gun Club

Fixation/Infinity Cat, 2021

8/10

Listen to 467 Surf And Gun Club

The singer, songwriter and producer Robert Ellis Orrall has enjoyed a 40+ year career that includes records in every decade since the ‘80s, as well as penning songs for Reba McEntire and Taylor Swift, among others. On this installment of his work, Orrall pays homage to a legendary hang out spot that is no longer, and he brings plenty of melody and a colorful expanse of very California friendly sounds.

“In Dreams” starts the listen with warm keys and expressive singing as a dreamy quality enters the pretty landscape, and “Morning Songs” follows with an initially calm opening that leads into soulful, pop ideas that are as timeless as they are absorbing.

Further on, the indeed bright “Sunny” is full of contagious melody that immediately invites singing along, while “Wish About Her” enters piano balladry as Ellis offers a poetic quality to the beauty. “Miserable”, one of the album’s best, then bounces and soars with an infectious pop-rock display.

Close to the end, the frisky keys of “Welcome To Paradise’, complements the raspy vocals from Leon Russell, and “Anthem 467” exits the listen and builds from keys and emotive singing into a quirky form of psychedelia that’s quite adventurous.

A lush and layered affair that embraces effects, guitar solos and plenty of versatile drumming, Orrall possesses a wealth of talent and his diverse song craft makes for a distinct variation of Southern California folk-pop that you can’t help but admire.

Travels well with: Brian Wilson & Van Dyke Parks- Orange Crate Art; Alex Chilton And Hi Rhythm Section- Boogie Shoes: Live On Beale Street

Antonio Adolfo

Jobim Forever

AAM, 2021

8/10

Listen to Jobim Forever

A pianist, composer, arranger and bandleader, Antonio Adolfo interprets the legendary work of Antonio Carlos Jobim from the ‘60s, with his inestimable and unique vision that takes help from Rafael Rocha’s trombone, Jorge Helder’s double bass and many more.

“The Girl From Ipanema” starts the listen with Rafael Barata’s agile drumming and percussion alongside graceful alto sax by Danilo Sinna and Adolfo’s elegant keys in the swing delivery, and “Wave” follows with Dada Costa’s playful percussion amid Lula Galvao’s sublime guitar and Rocha’s soulful trombone solo.

In the middle, “How Insensitive” benefits much from Sadoc’s soaring flugelhorn and Mancelo Martins’ airy flute as much beauty is present amid the slow Bossa, while “Inutil Paisagem” flows with a timeless, haunting jazz spirit thanks to Paulo Braga on drums. The lone track with vocals, “A Felicidade”, lands earlier in the listen, and showcases Zé Renato’s poetic singing in the busy, precise execution.

The final two tracks, “Amparo/Intro: Por Toda A Minha Vida” and “Estrada Do Sol”, are equally luminous, where the former spotlights Adolfo’s precise piano work interacting with the cautious brass and the latter exits on a dreamy, flute friendly, jazz waltz.

Adolfo chose Jobim’s work from this particular decade because of its impact in helping make Rio de Janeiro a cultural capital of the world, and along with the esteemed cast he certainly illuminates all the hallmarks of Jobim’s craft that the world loves, while putting his own inimitable stamp on the compositions.

Travels well with: Chris Standring- Wonderful World; The Chris Saunders Band- Dancing With The Widow St. James

Barenaked Ladies

Detour de Force

Raisin’, 2021

8/10

Listen to Detour De Force

So I’m a little late to the party seeing as how this is the 16th studio album from Barenaked Ladies, but the first one I’ve listened to. Sure, I know the hits from the ‘90s, as we all do, and I don’t have any reason for not exploring their catalog, especially since I’ve always felt there were similarities to They Might Be Giants, which could never be a bad thing.

The diverse 14 tracks leads with “Flip”, where a smooth and agile energy that’s pop, rock and even folk comes with the instant sing-along friendly opener, and “Good Life” follows with no shortage of melody as the very modern version of pop-rock is executed flawlessly.

Further into the listen, the calm, nearly Americana of “Live Well” makes a warm impression, while the quirky approach of the soulful and synth filled “Flat Earth” wouldn’t be out of place in the ‘80s. “Roll Out” then just might get you on the dance floor with its lively pulse, animated drumming and bright brass that flirts with funk.

The very sophisticated, retro spirited “Paul Chambers” arrives near the end, and showcases piano, falsetto singing and ‘70s nods, and “Internal Dynamo” exits the listen with a mysterious atmosphere that’s kind of prog, kind of jazz, somewhat pop and even dreamy, but that halfway through bursts into a firm rocker.

The band feel that this is their best work in 30 years, and it’s quite playful, not always that serious, but seriously eclectic and creative. Seems like I picked a good spot to familiarize myself with these Canadian legends, who, as it turns out, are one of the few ‘90s stars who are still very relevant, highly memorable and progressing with their craft.

Travels well with: The Tragically Hip- Saskadelphia; Fastball- Step Into Light

Buck Owens And His Buckaroos

The Kansas City Song

Omnivore, 2021

8/10

Listen to The Kansas City Song

Buck Owens spent quite a bit of time on the charts in 1970 with his 3 hit records, and The Kansas City Song also cracked the top 10 with its 10 carefully crafted originals that bring country, honky tonk and the Bakersfield sound into an inimitable formula.

Owens places the title track in the opening spot, where soulful female vocals complement rural melodies that just might get you on the dance floor, and “Bring Back My Peace Of Mind” follows with a warm, classic country approach of sublime beauty.

Further along, “I’d Love To Be Your Man” brings a romantic mood with much cautious instrumentation, while “You Can’t Make Nothin’ Out Of That But Love” embraces some jangly folk ideas amid a timeless climate that sounds just as great today as it did back then. “Scandinavian Polka”, an album standout, then moves swiftly with strong instrumental dynamics as the Buckaroos are in fine form.

Deeper still, “The Wind Blows Every Day In Oklahoma” emits pretty pedal steel to accent the poetic landscape, and “Full Time Daddy” exits the listen with playful keys that help illustrate all the hallmarks we love about Buck Owens And His Buckaroos.

As with all these reissues, Omnivore Recordings goes the entire way with elaborate liner notes, expanded art work and a more fluid sound thanks to updated mastering and production, and they’re not done yet, as more Owens reissues are just around the corner.

Travels well with: Buck Owens And His Buckaroos- Your Mother’s Prayer; Buck Owens And His Buckaroos- I’ve Got You On My Mind Again

Buck Owens And His Buckaroos

Your Mother’s Prayer

Omnivore, 2021

9/10

Listen to Your Mother’s Prayer

Certainly one of the most noteworthy albums in the lengthy and exceptional body of work from Buck Owens And His Buckaroos, 1970’s Your Mother’s Prayer is a return to gospel, though it certainly doesn’t abandon his country roots, either.

The twangy title track starts the listen with Owens’ signature vocals highlighting the warm climate, and “Wait A Little Longer Please, Jesus”, the lone cover, presents a very genuine and spiritual interpretation that Owens did just as well as anyone.

Elsewhere, “In God I Trust” brings an emotive angle to the expressive gospel delivery, while “When The Roll Is Called Up Yonder” recruits bouncy keys and a frisky tempo to the album highlight. “Lonesome Valley”, another exceptional tune, then showcases soaring strings in the breezy, rootsy landscape.

Closer to the end, “That Sunday Feeling” offers a scrappy and fun folk rocker where the backing vocals make a big impression, and “Just A Few More Days” exits the listen steeped in his Bakersfield ways with no shortage of melody and crisp, flowing musicianship from his esteemed band.

Much like all the Owens reissues that the Omnivore label is doing, this one comes with more artwork, new liner notes and an enhanced sound thanks to Michael Graves and Cheryl Pawelski, and it documents an artist in the prime of his career.

Travels well with: Buck Owens And His Buckaroos- I Wouldn’t Live In New York City; Bobby Bare- Great American Saturday Night

Buck Owens And His Buckaroos

I Wouldn’t Live In New York City

Omnivore, 2021

8/10

Listen to I Wouldn’t Live In New York City

Originally released in 1970 and landing at #12 on the country album charts, Buck Owens started off the decade with a trio of albums, where I Wouldn’t Live In New York City introduced us to the youngest Buckaroo, Jim Shaw, who handles electric organ, harmonica and piano across these 10 tunes about cities.

“I Wouldn’t Live In New York City (If They Gave Me The Whole Dang Town)” starts the listen with Owens’ dislike for The Big Apple backed by subtle harmonica, light drumming and soft guitar alongside his smooth pipes, and “Reno Lament” follows with the shuffling pace of country flavored fun he was known and revered for.

Halfway through, “The Kansas City Song” offers a swift duet of country western playfulness, while “(It’s A Long Way To) Londontown” starts and ends with a thick bell, and sandwiches and old time feel in the middle. “Houston-Town”, one of the album’s best, then swirls with a dreamy appeal thanks to the many voices, hypnotic drumming and strategic pedal steel.

Near to the end, “No Milk And Honey In Baltimore” emits a retro-folk demeanor that’s full of atmosphere, and the warm acoustic guitar and poetic singing of “Big In Vegas” exits the listen with his signature Bakersfield sound intact.

The early ‘70s were a very prolific time for Owens, and the mastering from the analog tapes thanks to Michael Graves and production by Cheryl Pawelski, as well as expanded artwork and new liner notes from Randy Poe makes I Wouldn’t Live In New York City sound, look and read better than ever.

Travels well with: Buck Owens And His Buckaroos- I’ve Got You On My Mind Again; Bobby Bare- Great American Saturday Night

Spells & Hooper

‘Rock N Roll Swap Meet: Day 1’

Snappy Little Numbers, 2021

9/10

Listen to ‘Rock N Roll Swap Meet: Day 1’

The Snappy Little Numbers label sure has had an impressive year, and it’s one that includes a handful of creative releases in the area of punk, but rarely in the traditional sense. SPELLS and Hooper continue that theme, as each offer us a pair of tunes that are equal parts power, melody and hooks.

The Swap Side starts with the SPELLS tune “The Shallows”, where dual gender vocals flow from a punk, garage and indie blast of melody and grit, and “Forget About Virginia” follows with Hooper’s crashing drums, powerful guitars and rhythmic energy that’s raw, plenty tuneful and even a bit nostalgic.

The Meet Side is equally fun, and leads with “Corporate Welfare Queen”, where a bouncy spirit and infectious pop influence makes this a particularly playful and memorable tune from SPELLS, and Hooper exits the listen with the cautious and thicker alt-rock intensity of “Salted Breeze”, which hints at what made the ‘90s so great.

At under 10 minutes, this serves as a quick but impactful platform for two very talented bands who actually cover each other and write songs for one another on this charming slab of hot pink vinyl.

Travels well with: The Christmas Bride- Dark Romance Of A Midnight Wanderer; State Drugs-Live. Laugh. Love

Van Stiefel

Spirits

Panoramic, 2021

9/10

Listen to Spirits

A composer and guitarist who pays very specific attention to his craft, Van Stiefel tips his hat to legends like Glen Campbell, Les Paul, and Chet Atkins on this instrumental and expertly layered affair that showcases his inimitable vision.

“King Of Cups” starts the listen with a dreamy lap slide melody amid warm pedal manipulation as plenty of atmosphere is present, and “Solace” follows with 2 minutes of subdued beauty that uses space and sophistication with much skill.

Closer to the halfway point, “Spirits” glides with mystery and intimacy that’s both sublime and awe inspiring, while “Pink Cloud” recruits a percussive quality into the dark and alluring climate. “Ghost Flare”, a particularly interesting track, then mixes longer acoustic samples with the meticulous electric guitar for a unique duet.

Near to the end, “Jewel Tree” offers a hypnotic landscape of tremolo techniques in the electric guitar duet, and “Ground” exits the listen and showcases 5 guitars utilized in fascinating, timeless ways.

With songs as long at 11 minutes and as short as less than 2 minutes, there’s much diversity to be found here, as Stiefel brings something distinctive to each composition, including computer generated sounds, piano samples and no shortage of harmony and rhythm that make for a well spent hour of listening.

Travels well with: Collage Project- Off Brand; David Liptak- Dove Songs

Divine Horsemen

Hot Rise Of An Ice Cream Phoenix

In The Red, 2021

9/10

Listen to Hot Rise Of An Ice Cream Phoenix

It’s been over 3 decades since we’ve heard anything new from the Los Angeles outfit Divine Horsemen, but they’ve made the wait worth it on this diverse comeback album where founding members Chris Desjardins and Julie Christensen are joined by X’s drummer DJ Bonebrake, bassist Bobby Permanent, guitarist Peter Andrus and Doug Lacy on keyboards

“Mystery Writers” gets the listen off to an energetic and gritty start, where slight rootsy ideas enter the crisp rock climate, and “Falling Forward” continues this approach with their punk roots intact amid the melodic and layered guitars that packs in much beauty, too.

Elsewhere, the soaring guitar rock of the thumping “Handful Of Sand”, is an album standout where the lively rhythm section doesn’t disappoint, while “Any Day Now”, a rare cover, gets both thick and calm as their inimitable singing unfolds with an expressive quality. “No Evil Star”, another exceptional track, then makes great use of acoustic guitar, where the pair harmonize alongside the European folk influences.

Close to the end, the scrappy murder ballad “Stony Path” recruits hand clapping and a swift, jangly delivery, and the duo’s version of a love song, “Love Cannot Die”, exits the listen with their retro-folk and gravelly versus pretty execution leaving us wanting more than 13 tracks.

Chris D and Christensen split both professionally and personally in 1988, but remained in contact through the years, and never ruled out a reunion. Though he’s been quite busy with the Flesh Eaters in recent years, a lull in that activity allowed Chris D to entertain Christensen’s interest in resurrecting the band, and let’s hope this isn’t the final installment of Divine Horsemen, cause they sound better than ever.

Travels well with: The Dream Syndicate- These Times; Ellen Foley- Fighting Words

Elder Jack Ward

Already Made

Bible & Tire, 2021

8/10

Listen to Already Made

A Mississippi native, Elder Jack Ward relocated to Memphis when he was 18, which began his lengthy career in music. Having spent much of his time in singing groups, this debut solo album comes later in life, and brings a wealth of experience and talent to 10 songs that were whittled down from 100 originals.

“The Way Is Already Made” leads the listen with an upbeat and rhythmic display of gospel, soul and rock’n’roll flavor that’s got a contagious energy, and “He’s Got Great Things” follows with both grit and melody entering the spiritual climate where Ward’s pipes show much diversity.

Further down the line, “God’s Love” is a vocally strong and layered display of timeless gospel influences, where a tambourine provides the bulk of the instrumentation, while “God’s Got A Hold Of My Hands” shakes and rattles with a bounce that will certainly get you up and out of your pew, “Without The Lord” then burns slow and with much sincerity as Ward and company soak the listen in a rugged, southern spirit.

The final two tracks, “Rest With Jesus” and “I Feel Better Since I Prayed”, continue the strong song craft, where the former emits power and ebullience, and the latter embraces the blues with much authenticity and memorableness.

The Elder Ward Singers, i.e. Johnny Ward, Carla Ward, Francis Ward and Cecilia Garrett, are joined by The Sacred Soul Sound Section and several guest musicians, plus Bruce Watson’s exceptional producing skills on this raw yet meticulous listen. Ward already has some very well received 45s under his belt, and now a top notch full length the superbly illustrates his devotion to his craft.

Travels well with: Wilburt Lee Reliford- Seems Like A Dream; The Last Shall Be First- The JCR Records Story, Volume One

Chris Robley

A Filament In The Wilderness Or What Comes Next

Cutthroat Pop, 2021

8/10

Listen to A Filament In The Wilderness Or What Comes Next

A Maine resident who excels at songwriting and poetry, Chris Robley provides vocals, keys and guitars to all these diverse tracks, and takes help from an all star cast of players who help illuminate his personal and political tunes.

Robley starts the listen with firm acoustic strumming and warm keys of “American Dreams”, as brief bouts of brass add much to the distinct Americana formula that welcomes Anna Tivel’s pipes, and “There’s A Bird” follows with a firm gospel angle where many voices highlight the soulful climate that segues into a playful version of indie-pop where Daniel Adlaf’s keys make an impression.

In the middle, “Sandra” emits much beauty in its bare, Rob Flax fueled strings and display of sublime emotion, while “Love Is A Four-Letter Word” is full of heartfelt and melodic song craft that graces us with Anders Bergstrom’s drums and Arthur Parker’s bass.

At the end, “Love In A Time Of Sharp Decline” showcases both grit and tunefulness in Robley’s articulate and memorable vision amid Tivel’s violin and singing, and “Filament” exits the listen with a light buzzing alongside bluesy guitar in a duet thanks to Margaret Gibson Wehr’s expressive voice and Bennie Morrison’s sax.

The loss of his father, the recent administration and the legions of political and social injustice give Robley plenty of songwriting fodder, and his collaborators extend the reach of his songs into very articulate and alluring avenues you won’t forget soon.

Travels well with: Anna Tivel- The Question; Vincent Cross- The Life And Times Of James ‘The Rooster’ Corcoran

Dan Cavalca

Lights Of Red Island

Principal, 2021

8/10

Listen to Lights Of Red Island

An integral member of the Claudio Scolari Project, Dan Cavalca interprets the work of his full band’s record, Colors Of Red Island, and reshapes it into this highly imaginative version of IDM that borrows from alt-rock and electro-pop, too.

“Colors Of Red Island” starts the listen with keys and brass interacting with much atmosphere and hazy beauty as a charming brand of jazz and electronica meet, and “Movement Inspiration” follows with much emphasis on percussive sounds as ambience and elegance enter the melodic landscape.

Closer to the middle, “Earth Dances Explosions” flows with a light buzzing amid a stylish, cinematic approach of electronica and horns, while “Improvised Sentimental Song” offers a playful and dance friendly delivery of xylophones and bright beats. “Emotion Appearance”, another exciting track, then uses proficient drumming and fuzzy synth in its busy and dynamic execution.

Deeper still, “Infinite Silence” moves a bit more cautiously as deep male vocals and soaring, wordless female singing enter the more rock focused setting, And “Hymn Of The Inventions” exits the listen in a dreamy, meticulous and textured display of fusion nods.

If you haven’t heard the original album, there’s no need to worry that you won’t enjoy this one, so long as you appreciate creative ideas of modern classical, timeless jazz and universally enjoyable versions of pop and electronica, as Cavalca’s drumming, composing and producing skills sure are well received here.

Travels well with: Claudio Scolari Project- Cosmology; Aaron Jay Myers- Clever Machines

The Furious Seasons

Home All Day, Home All Night

Self-Released, 2021

9/10

Listen to Home All Day, Home All Night

The folksy trio of The Furious Seasons, i.e. David Steinhart, Jeff Steinhart and P.A. Nelson, are in fine company here, as they pen a pandemic record that thematically surrounds love, aging, childhood, and the inevitable grip of time on every facet of life.

“Is This Happening” starts the listen with cozy acoustic guitar as warm, expressive singing from David flows with a reflective Americana tone, and “Down For Me” follows with a poetic display of folk-influenced beauty that benefits from David’s soft drumming and Nelson’s intricate guitar work, not too mention well timed accordion courtesy of Arlan Oscar.

“We Go Down” lands close to the middle and brings soothing vocal harmonies amid the pretty, rootsy songwriting, while “Birthday Song” emits a lush and heartfelt execution of genuine emotion in the album highlight. “The North Valley”, another excellent track, is then accented by strategic violin thanks to Aubrey Richmond’s contributions to the stirring climate.

Moving down the line, “Changes” soars with a timeless folk template in the imaginative David Bowie cover, and “7420” exits the listen and illustrates the trio’s well thought out chemistry that’s impossible not to admire.

An effort that just sounds like their California home with its overwhelmingly breezy landscape, The Furious Seasons yet again carve out a very distinct and cautiously charming place to reside in the area of modern indie-folk and vintage folk-rock that we could never tire of, and Home All Day, Home All Night just might be one of their best yet.

Travels well with: Jon Byrd- Me & Paul; Tylor & The Train Robbers- Non-Typical Find

Tito Jackson

Under Your Spell

Gulf Coast Records/Hillside Global, 2021

8/10

Listen to Under Your Spell

The legendary Tito Jackson makes this debut on the Gulf Coast Records/Hillside Global label with an impressive start at his new home, where familiar names like George Benson, Claudette King, Bobby Rush and many others are in attendance for the diverse and timeless song craft.

“Wheels Keep Turning” gets the album off to a lively start with Jason Parfait and Ian Smith’s bright horns, and Darnell Neal’s playful bass as Jackson’s soulful pipes guide the bluesy romper, and the very relative “Love One Another” follows with Stevie Wonder on harmonica alongside Andre Britten’s precise rhythm guitar as the many vocalists make for a warm and wise message.

Further along, the spirited title track brings in the legendary Joe Bonamassa on guitar and Michael K. Jackson on rhythm guitar for the mesmerizing album highlight, while “Dyin Over Here” has Jackson showing us his guitar prowess alongside frisky drumming from Michael Harris. “You’re Gonna Push Me Too Far”, a funky and cozy tune, then recruits percussion from Rocc Thomas, drums by Kelvin ‘KT’ Thomas and organ/piano thanks to Brandon Adams for a superbly textured and groove friendly affair.

Deeper still, “All In The Family Blues” takes help from the revered Eddy Levert and a memorable sax solo courtesy of Eric Demmer, and “I Got Caught (Loving In A Dream)” exits the listen with contributions from Steve ‘Ice Buck’ Powell as Jackson and company finish the listen with a healthy and radiant version of the blues.

Jackson got his start in the Jackson 5 many decades ago, and remained in the industry for years before embarking on a solo career in the early 2000’s. Now approaching 70 years old, with his lifetime of experience and a healthy cast of musicians on board, though he might not be the most well known Jackson, what he lacks in mainstream attention he makes up for with a solid, fluid and genuine vision of song.

Travels well with: Joe Bonnamassa- Now Serving: Royal Tea Live From The Ryman; George Benson- Weekend In London

Lukasz Pawlik

Long-Distance Connections

Summit, 2021

8/10

Listen to Long- Distance Connections

The piano virtuoso Lukasz Pawlik brings in an all star cast for Long-Distance Connections, where Mike Stern, Tom Kennedy, Gary Novak and Szymon Kamykowski, among many others, accompany him across 8 fusion friendly compositions.

“Indian Garden” starts the listen with Stern’s electric guitar, Dave Weckl’s proficient drumming and David Glówczewski’s well timed saxophone in the smooth and versatile opener, and “A Matter Of Urgency” follows with Pawlik’s dizzing acoustic piano alongside Kennedy’s strategic electric bass as flowing jazz ideas enter the playful climate.

At the halfway point, “For Odd’s Sake” enters calmer territory, as Randy Brecker’s trumpet makes an impression amid Pawlik’s keys, samples and synth, while “Planet X” offers a darker approach complete with piano, keyboards, synth, samples and bass programming from Pawlik’s very capable hands in the cinematic landscape.

“Greg’s Walk” arrives near the end, and is one of the best tracks, in part due to flugelhorn from Brecker and Glówczewski’s warm sax prowess, and “Suspensions” exits the listen with no shortage of grooves cultivated by sax, bass, drums and Pawlik’s flawless key work.

Pawlik penned all these originals, and his contributions on various keys, and even cello on one track, help make Long-Distance Connections an ideal listen for those with an interest for collaborative jazz and timeless classical song craft.

Travels well with: Dave Miller Trio- The Mask-erade Is Over; Schapiro 17- Human Qualities

Boston Modern Orchestra Project

Walter Piston: Concerto For Orchestra

BMOP, 2021

8/10

Listen to Walter Piston: Concerto For Orchestra

A highly esteemed ensemble led by conductor Gil Rose, the Boston Modern Orchestra Project released a pair of albums on this same day recently, by conductors Samuel Barber and Walter Piston. This interpretation of Piston’s work is carefully crafted, and retains his neo-classical vision where selections from 3 different decades place his New England roots front and center.

“Variations On A Theme By Edward Burlingame Hill” starts the listen with much grace, where both melody and tension meet in the very eloquent and absorbing climate that shifts from light and airy to full, with soaring strings.

“Divertimento For Nine Instruments” and “Concerto For Clarinet And Orchestra” land in the middle, where the former moves swiftly with a bouncy and playful spirit of dynamic instrumentation, while the latter glides with a charming cinematic quality as Michael Noseworthy’s clarinet interacts with the orchestra in fascinating ways.

“Concerto For Orchestra” exits the listen with 3 movements of strings, brass and woodwinds working together synergistically to build a triumphant and extremely memorable finish to the meticulous record.

Piston’s modernist style is captured well here by the revered musicians, who again prove just why they are certainly worthy of their many Grammy nominations, and a win in 2020, as they do Piston’s legacy proud with this first rate effort.

Travels well with: Boston Modern Orchestra Project-Samuel Barber: Medea; Ofer Pelz & Meitar Ensemble- Trinité

Boston Modern Orchestra Project

Samuel Barber: Medea

BMOP, 2021

8/10

Listen to Samuel Barber: Medea

The world renowned Boston Modern Orchestra Project, which is led by conductor Gil Rose, bring us a very exciting body of work here, where they interpret the mid-twentieth century American composer Samuel Barber, which includes a pair of vocal works, something that Barber was especially known for.

“Knoxville: Summer Of 1915” starts the listen with 15 minutes of gentle, soothing musicianship surrounding Kristen Watson’s stunning soprano as she hits some very high notes alongside the very pretty strings complementing the warm mood.

The middle track, “Medea”, assembles the complete original ballet across 9 movements that emit an adventurous landscape of firm strings, dreamy woodwinds and often cinematic qualities as the very flexible chapters each emit a very specific tone and mood.

“A Hand Of Bridge” exits the listen with Angela Gooch and Krista River handling soprano and mezzo-soprano, as well as Matthew DiBattista’s tenor and David Kravitz’s baritone, where the vivid storytelling is illuminated with their poetic and expressive delivery that resonates long after the track ends.

It’s no surprise that BMOP have been Grammy Nominated many times and even took home the award for 2020’s Tobias Picker: Fantastic Mr. Fox, and it wouldn’t surprise me if this project sees a similar fate as they execute flawlessly and with a timelessness that few others could replicate.

Travels well with: Ofer Pelz & Meitar Ensemble- Trinité; Boston Modern Orchestra Project- Walter Piston: Concert For Orchestra

Bonander

Things We Don’t Talk About

Icons Creating Evil Art, 2021

8/10

Listen to Things We Don’t Talk About

The Swedish singer-songwriter Ellinor Sterner Bonander makes quite an impression on this debut album, where a very curious brand of synth-pop unfolds with a powerful, dark and superbly layered approach.

“Never Ask” starts the listen vocally strong as plenty of harmonizing surrounds the brief, atmospheric pop, and “Gone In The Wind” follows with a darker quality that displays Bonander’s synth work alongside Johan Johannson’s precise guitar and Agnes Scherwin’s strategic violin.

There are 12 very well thought out tracks included, and the middle ones are among the best, including the club friendly, electro-pop of the ominous “Ms. Mitchell”, where Elias Ortiz’s swirling synth won’t go unnoticed, while “Slumber Love” glides with a dreamy, ambient appeal that’s not short on emotion or intimacy. “Annie”, another excellent track, then recruits bass clarinet from Astrid le Clercq and Hillevi Rasmusson Klingberg’s cello as the setting turns into an almost fairy tale landscape with some firm, cinematic moments.

Inching towards the end, “Silent Lights” emits a mysterious angle where Bonander’s expressive singing is shrouded in textured beauty, and “Ode” exits the listen with Sara Hermansson’s grand piano accompanying the sparse but impactful finish.

A unique first record where elegant strings, thick bass lines, no lack of synth melodies and, of course, Bonander’s diverse and inviting singing makes for a very talented and alluring version of pop that we hopefully will hear plenty more of in the future.

Travels well with: Misty Coast- When I Fall From The Sky; Goan Dogs- Call Your Mum

Icarus Phoenix

No tree can grow to heaven unless its roots reach down to hell

Telos, 2021

10/10

Listen to No tree can grow to heaven unless its roots reach down to hell

The multi-instrumentalist and singer-songwriter Drew Danburry has put out a lot of music since the early 2000’s under his own name while also playing with and touring with several other bands, and here he’s aligned with Jed Jones, Nick Dorsey, Ryan Scott, Will Pasternak, A.R. Herrin, and Josaleigh Pollett as Icarus Phoenix, where a very diverse form of indie-rock emerges.

“Madam Seawright” starts the listen with soft acoustic guitar and dreamy singing, as a thicker setting settles in with an indie-rock meets folk-rock approach that’s quite exciting and recruits Pollett on vocals, and “Jan Sessions” follows with a more firm and melodic display of pop friendly ideas amid some rootsy flavor, too.

A listen where each track shines in its own unique light, “Sleep, For Ian Aeillo” alternates between crunchy rock and a cautious display, while “Eddie King” gets jangly and even a bit scrappy with some garage rock nods under the harmonic singing. “Kill Holiday, for Steven Andrew Miller”, my favorite tune, is a hazy, surreal moment that parallels the greatness of Kill Holiday’s “In Closing”, and is definitely on par with their later, fantastic work.

Nearing the end, “All The Same” brings both ruggedness and melody into a smooth climate that benefits much from Dorsey’s crisp drumming, and “Dogma of no dogma, non-dogmatically” exits the listen with an acoustic guitar and an airy flute that evolves into a full band execution of timeless, thoughtful, imaginative songwriting.

There’s a lot of people playing this sort of intimate yet playful folk-ish, indie music these days, but few are doing it as well as Danburry and company. You might even consider No tree can grow to heaven unless its roots reach down to hell this decade’s version of In The Aeroplane Over The Sea, and I think we can all agree that’s about as big a compliment as you’re likely to see anywhere.

Travels well with: Brad Byrd- Where Were You When The World Stopped?; T. Hardy Morris- The Digital Age

Anna Rose

The Light Between

Self-Released, 2019

9/10

Listen to The Light Between

Coming off a strong 2016 EP, the esteemed songstress Anna Rose returns with 10 original tunes that make up this forthright, moving and emotionally deep album.

“Anonymous” starts the listen with ambience that builds into an explosive and thundering blues rocker, and “Broken Is Beautiful” follows with a percussively heavy display of subdued power and gritty melody.

Further along, “Nobody Knows I’m Here” trims the volume back to an Americana influenced setting, while “The Chariot” recruits an emotive spirit in the rural atmosphere of thoughtful beauty.

The back half of the listen offers the hushed “Lesson For Liars”, which really puts Rose’s sturdy pipes on display, and the soaring rock of “Set The Bed On Fire”, which moves with an anthemic spirit. “Walking On The Edge” exits the affair with a moody atmosphere of sublime precision and gripping art.

Both a listen of fierceness as well as intimate vulnerability, Rose provides proficient guitar work alongside her inimitable vocals, as she explores the Americana side of her song craft with mesmerizing, stunning results.

Travels well with: Ana Egge- Is It The Kiss; Sheryl Crow- Threads