Encre(s) Sonore(s)

Encre(s) Sonore(s)

Self-Released, 2021

8/10

Listen to Encre(s) Sonore(s)

A very unique concert trio and duo on this recording, Encre(s) Sonore(s) are Christophe Forget, Julien Behar and Stéphane Decolly live, and here the latter two hold down saxophone and bass respectively, and both handle effects and electronics across these very meticulous 8 tracks.

“encre #1” starts the listen with much atmosphere as Behar’s manipulated sax sets a mysterious mood alongside unpredictable electronics, and this creativity continues to the quivering, jazz influenced “encre #2”, where much ambience is present.

At the midpoint, “encre #3” flows with an improvisational spirit that showcases Behar’s innovative brass amid a experimental, busy landscape, while “mockba 80” emits a soothing, slow burning climate that’s quite meditative.

Closer to the end, “Célérité” showcases electronic ideas alongside free jazz bouts, and “encre #5” exits the listen with 8 minutes of precise bass work and droning electronics that are as inviting as they are accomplished.

Recorded live with no audience, the interplay here is fascinating, and those with a penchant for anything jazz, electro-acoustic and improv related will want to spend quality time with Encre(s) Sonore(s).

Travels well with: Zanov- Chaos Islands; David Fulmer- Sky’s Acetylene

The Real Tuesday Weld

Blood

Antique Beat, 2021

8/10

Listen to Blood

The very unique London outfit The Real Tuesday Weld are entering the end of their career, and it comes with a set of 3 albums that illustrates their vintage-pop meets modern electronic ideas that are never short on haunting moments, swing nods and dark romanticism.

“Blood Knuckled And Dusted” starts the listen with a dark cabaret feel as mysterious vocals from Oriana Curls flow alongside calm percussion and an eerie backdrop, and “Too Much Too Soon” follows with a club friendly climate that welcomes a warm beat amid playful electro-pop.

“What Happens Next?” lands in the middle and emits deep vocals and storytelling alongside warm piano and a lounge jazz feel, while “Promises Promises” injects strategic clarinet into a very stylish and nostalgic landscape that benefits from Josephine Lloyd-Wilson’s pipes. “The Floating Man”, one of the album’s best, then brings much grace and poetic singing to the bare but impactful execution of reflective keys and strong attention to mood.

Close to the end, “Skeletons In Waiting” lands in dreamy territory, though not in the traditional sense, and “Killers” exits the listen with AM radio crackling that segues into dance worthy beats that also seems like it could soundtrack a haunted house.

Part trip-hop, part cabaret rock and part retro-jazz, Steven Coates has been the driving force behind the band since its inception over 20 years ago, and much like everything in their catalog, Blood defies easy categorization, but makes a lasting impression with its atypical textures and emphasis on sounds from many decades ago.

Travels well with: DeVotchKa- This Night Falls Forever; Rogue Wave- Nightingale Floors

Mr. Diagonal

North Pacific

Self-Released, 2021

8/10

Listen to North Pacific

An artist who splits his time between America and Europe, Mr. Diagonal’s 5th album, North Pacific, illustrates his unique vision of pop, where much imagination and diversity comprise the dozen tracks.

“Bannerghatta” starts the listen with an imaginative vision of folk sounds, as a cabaret quality enters the retro climate, and “Serendipity House” follows with warm piano alongside vivid storytelling that carries a lounge friendly appeal with much mystery.

Closer to the middle, the hazy keys of “Indian Ocean” makes an indelible mark, while the quirky “Hyoryo no Tegami” is a charming bedroom pop tune. The album’s best track, “Red Lighthouse”, explores a distinct version of yacht-rock, complete with a guitar solo courtesy of Ben Carmona.

Towards the end, “Maybe I’ll Build A Boat” uses twinkling percussion and orchestral strings in a cinematic sort of way, and “North Pacific” enters darker areas with much atmosphere in the bare, dreamy setting that you can’t help but be smitten with.

Good luck trying to define Mr. Diagonal’s vision, but let’s just say that blues and funk are part of the equation, and ukulele, sax and flutes are used strategically. Also a member of Black Light Orchestra, Dan Barbenel, aka Mr. Diagonal, plays a handful of instruments here, and combined with his exceptional help, pens a record for those who love to daydream in unconventional ways.

Travels well with: Other Houses- Twins Who Fence; Paar Linien- Paar Linien

Savana Funk

Tindouf

Garrincha GoGo, 2021

8/10

Listen to Tindouf

An 8 track album recorded straight to analog tape, Savana Funk know their way around both vintage and modern ideas, and no shortage of power and grooves comprise these very diverse tunes.

“Fuga Da Gorée” starts the listen with proficient drumming as hypnotic guitar and playful percussion from Max Castlunger enters the lively climate, and this creativity continues to the psychedelic and warm “Afromoon”, where soothing keys add much to the cautiousness.

At the halfway point, “Kiki” sits closer to jazz territory with its spirited guitar lines and firm drumming, while “Tindouf” recruits Elena Majoni’s violin amid chanting as the 7 minutes explores countless textures and moods in its dynamic landscape.

“Keta Diva” lands near the end and recruits well timed brass alongside swift drumming and plenty of spacey ideas, and “Kontiki Blues” exits the listen indeed touching on blues to complement the stylish and reserved execution.

A record that often possesses the energy of a live recording, Aldo Betto, Blake C.S. Franchetto, Youssef Ait Bouazza and new member Nicola Peruch illustrate Savana Funk in their best version yet, and this effort certainly is multi-cultured and fascinating proof of that.

Travels well with: Gregario- Nomads On Hold; Gilles Poizat- Champignon Flamme

Eric Bibb

Dear America

Self-Released, 2021

8/10

Listen to Dear America

An album that truly encapsulates these trying times in America, the blues veteran Eric Bibb brings us a wise and eloquent depiction of the status quo, and he’s got several guest players to help him flesh out these very important songs.

“Whole Lotta Lovin’” starts the listen with soulful and intimate acoustic guitar as Bibb’s wise and comforting vocals unfold with much grace that takes help from Ron Carter, and “Born Of A Woman” follows with help from Shaneeka Simon on the warm and emotive duet that benefits from spirited guitar work and playful drumming.

The title track lands in the middle and recruits a hand clapping and bluesy climate that’s lyrically very insightful about the state of America today, while “Different Picture” puts Chuck Campbell’s skills on display in the rhythmic and bluesy album highlight. “Emmett’s Ghost”, another very powerful song, allows Bibb’s poetic and sublime singing to align with intricate acoustic guitar to tell a tragic true story of a young black man’s lynching for simply talking to a while woman.

“Love’s Kingdom” lands near the end and offers an upbeat pace of danceable song craft that takes aid from Tommy Sims and Glen Scott amid much bright melody, and “One-Ness Of Love” exits with Lisa Mills contributing soaring singing to the bare, string friendly and highly moving finish.

Now approaching 70 years old, Bibb has seen many different versions of America. Though he is understandably very saddened by much of what is occurring today, there’s also much hope and inspiration thanks to the revival of the ‘60s civil rights movement taking place right now, and Bibbs’ own timeless songwriting certainly is only contributing to our country moving towards a better future.

Travels well with: Lillias White- Get Yourself Some Happy!; James Holvay- Sweet Soul Song

Gaetano Letizia

Chartreuse

Self-Released, 2021

8/10

Listen to Chartreuse

A guitarist, composer and vocalist, Gaetano Letizia is well versed in a variety of genres, many of which are present on these diverse 9 songs that welcome Bob Esterle, Theron Brown, Bill Ransom and Matthew DeRubertis and emit influences from legends like Wes Montgomery and Pat Martino across the multi-faceted listen.

The title track starts the listen with agile and intricate guitar work from Letizia, as Ransom’s fluid drumming and Esterle’s warm sax makes an indelible impression, and “Expanding Reality” follows with Letizia’s soothing picking alongside cultured drumming.

In the middle, “Paradise Found” flows with much grace and emotion unfolding amid a romantic climate and atypical chords, while “Genrecide” benefits from Brown’s key acrobatics and playful guitars lines thanks to Letizia. as funk, hip-hop and reggae are explored. “Blue Ionosphere”, the album highlight, then meshes keys, nylon guitar and precise drumming into a rhythmic and Latin flavored delivery.

Later on, “Wandering” bridges soulful, bluesy and timeless jazz nods in balladry, and “Orange Sunset” exits the listen with a swift and swinging demeanor alongside no shortage of melody and energy.

This is Letizia’s 11th album as bandleader, and it truly illustrates his varied interests in guitar textures that have been evolving since he was 15 years old. An effort that doesn’t shy away from improvisation or jazz harmonies, each track here brings surprises that you won’t regret spending quality time with.

Travels well with: Kerry Moffit & Turning Circles- What Goes Around Comes Around; Antonio Adolfp- Jobim Forever

Kerry Moffit & Turning Circles

What Goes Around Comes Around

Turning Circles, 2021

8/10

Listen to What Goes Around Comes Around

A professional musician for over 4 decades now, Kerry Moffit brings his inimitable trumpet prowess to 4 jazz standards and 4 originals with some exceptional help on What Goes Around Comes Around.

“This I Dig Of You” starts the listen with Moffit’s soulful trumpet alongside trombone from Rob Killips as Ian LeVine’s frisky drums complement the playful mood, and “Just A Few” follows with a bouncy spirit thanks to Terri Newman’s strategic bass and Fender Rhodes by way of Luther Allison across the timeless jazz climate.

Further on, “Katrina Ballerina” is superbly textured amid Seth Ebersole’s proficient sax work and key acrobatics courtesy of Arlene Pritchard McDaniel, while “10-4 Jam” rumbles with a cautiousness that’s mysterious, even cinematic, and benefits much from Altin Sinclair’s trombone.

Deeper yet, “M.L.”, an original and the album’s best, bops and grooves with an infectious energy where Moffit’s trumpet skills are on full display, and “But Beautiful” exits the listen with soothing keys and stirring brass to accent the gentle landscape.

Moffit has been featured on over 70 recordings as a sideman, and here he proves that he’s more than capable of taking the lead, as him and his esteemed company turn in a fine performance with beautiful tone and top notch song craft.

Travels well with: Francesco Amenta- Midtown Walk; John Daversa- All Without Words

Laney Lou And The Bird Dogs

Through The Smoke

Self-Released, 2021

9/10

Listen to Through The Smoke

A Montana quintet with an affinity for bluegrass sounds, this 4th studio album from Laney Lou and company illustrates their unbelievable picking prowess and glowing vocal harmonies across 11 very authentic songs.

“Hi-Line” leads the listen with Lou’s pretty pipes alongside bluegrass friendly strings that certainly aren’t short on melody, and “Up For Air” follows with sublime beauty amid flowing banjo and soaring fiddle acrobatics.

Approaching the middle, “Burn It Down” recruits soothing vocal harmonies amid a swift display of mountainous sounds, while “Reeling” trims the pace back with its expressive singing and dreamy musicianship. “Ball and Chain”, another exceptional tune, then glides quickly with meticulous picking and firm group vocals.

The playful “Paradise” arrives near the end and brings a festive spirit that might get you dancing in the barn, and “Alive” exits the listen with a meshing of folk, country, Americana and bluegrass in a tuneful and very precise finish to a highly memorable effort.

The Bird Dogs consists of Josh Moore (guitar/vocals), Brian Kassay (fiddle/harmonica/mandolin/vocals), Matt Demarais (banjo/vocals) and Ethan Demarais (bass), and together with Lou they inject pop and rock nods into their bluegrassy ways on this top notch and glorious body of work.

Travels well with: Merle Monroe- Songs Of A Simple Life; Wilson Banjo Co.- Six Degrees Of Separation

Tony Glausi

Everything At Once

Outside In, 2021

8/10

Listen to Everything At Once

A man with many talents, the singer, songwriter, trumpeter and producer Tony Glausi steps into the role of bandleader here, and he’s got plenty of esteemed help with him to flesh out the pop fueled jams that are superbly produced across Everything At Once.

Glausi starts the listen with the playful keys and soulful backing vocals of “I Could Fall In Love”, as Charlemagne the Goddess contributes to the warm and beat heavy opener with her hip-hop prowess, and “Backseat Bump” follows with a busy display of incredible brass mixed with a very modern version of electro-pop that’s made for the club.

Elsewhere, “Lot Of Enough” recruits Luca Max for the dance friendly meets jazz fueled climate, while “Is Anybody Fkn Listening” welcomes Max Milner’s vocals into the festive execution of loud, dynamic musicianship. “The Ominous Blue”, one of the album’s best, then enters R&B territory, where Braxton Cook leaves an indelible mark with his proficient saxophone.

“You’ll Never Know” lands near the end and showcases Elysse’s stunning vocals amid the atmospheric keys and calm percussion, and “Meant To Be” exits the listen with a dreamy landscape of breathy singing, strategic brass and a soothing finish to a very adventurous listen.

A record that unfolds like a mixtape, each track here offers new surprises, and the entire affair carries a cinematic approach that certainly retains Glausi’s jazz roots, but explores plenty of other textures with much fluidity alongside an infectious energy.

Travels well with: Braxton Cook- No Doubt; R+R= Now- Collagically Speaking

Alison Faith Levy

You Are Magic

Self-Released, 2021

9/10

Listen to You Are So Magic

The San Francisco artist Alison Faith Levy, who used to play in the bands The Sippy Cups and McCabe & Mrs. Miller, is back with a 3rd solo effort for kids and families, where a nostalgic quality enters the concept album that asks some very spiritual questions about creativity, existence and how we connect with others.

“Roots & Branches” starts the listen with warm acoustic guitar in the brief instrumental, and “Turn Around” follows with playful drumming, strong piano work and Levy’s soaring, expressive pipes in the dreamy climate.

In the middle, “Putting It Back Together” flows with a charming bluesy-pop template that bounces with much fun where Levy’s son, Henry Plotnick plays piano, while “Draw” gets soulful in its retro sounds that points towards the ‘60s. “Canopy” then brings no shortage of melody to the psychedelia influenced song craft that illustrates just how diverse Levy is.

Near the end, “Now Is The Moment” takes nods to the British invasion as contributions from Bob Vickers and Allen Clapp won’t go unnoticed, and “Leaves & Sky” exits the listen much like it started- brief, reflective and full of harmony in its folk-rock sensibilities.

There’s no dull spot in Levy’s catalog of music, solo or full band, but You Are Magic might be her finest yet as she brings influences from the ‘60s and ‘70s into a thoughtful and articulate 11 songs that are quite likely the best family album released this year.

Travels well with: Barenaked Ladies- Detour de Force; Carrie Ferguson- The Grumpytime Club

Ros Bandt

Medusa Dreaming

Neuman, 2021

8/10

Listen to Medusa Dreaming

An album that thematically surrounds water, Ros Bandt and the Medusa Ensemble create an ambient journey of electro-acoustic improvisation that also recruits the sounds of glass, carp feeding and even trees growing.

“The Tears of Yerebatan Palace” starts the listen with the sounds of water drips, gentle percussion, flute call to water and glass lachrimae into 8 minutes of mysterious and soothing exploration, and this creativity continues to the stretched slide whistles, percussion and international words for Turned Into Stone that makes “Frozen Locks, Athena’s Curse” so inviting.

Further into the listen, the dreamy harp of “Water Through Glass” complements the glass through clay and tarhu playing on the album standout, while “Corinthian Song” brings live processing, a Renaissance tenor recorder, percussion, harp and electric guitarviol to an eastern influenced and meticulous landscape.

Deeper still, “Basilica Dreaming” was recorded in the Australian desert with windharps as multicultural voices give the droning backdrop much atmosphere, and “52 Steps to the Future of Water” exits the listen amid the sounds of flowing water, hazy strings and wordless vocals that help cultivate a very unique mood.

An accomplished environmental sound artist, composer, performer, sound sculptor, sound recordist, designer and musician, Bandt brings along Natalia Mann (harp), Erdem Helvacioglu (live processing, electric guitarviol), and Izzet Kizil (percussion) for a fascinating and absorbing adventure that makes precise use of every second.

Travels well with: Juraj Kojs- Imagine; Pamela Z- A Secret Code

Wing Vilma

Spirit Practice

Young Heavy Souls, 2021

8/10

Listen to Spirit Practice

The recording moniker of Miles Coleman, as Wing Vilma the artist embraces the natural world into a sonic formula and synth-heavy delivery that manipulates rhythm, frequency and tone with much skill.

The title track starts the listen with warm, bare percussive sounds that quickly escalates into a mysterious and agile version of electronica and piano, and “Astrology Cup” follows with a calmer pace of well timed keys and playful manipulation of mood and space.

Further along, “Bridges” moves with a swift experimental display of sci-fi meets dance floor sounds, while “Thunder” takes that lead a step further into darker, precise electronica where a voice is used like an instrument. The album highlight, “I Wish”, then gets dreamy amid sonically warm and bright song craft that radiates creativity.

“Sun and Rain” and “Mtl @ 9pm” exit the listen, as the former is layered with light textures that make an immediate impression, and the latter finishes with soulfulness entering the stirring finish.

A very exciting effort that utilizes field recordings from Coleman’s Michigan home, Wing Vilma is nothing if not technically proficient, and Spirit Practice is a daring and innovative record that the electronica inclined will adore.

Travels well with: Teke::Teke- Shirushi; Tele Novella- Merlynn Belle

Nina Simone

Little Blue Girl

BMG, 2021

8/10

Little Blue Girl

When Nina Simone released this debut record in 1959, she had already established herself as a significant talent who could sing, play piano and arrange music like few others. Recorded when she wasn’t even 25 years old yet, Little Blue Girl illustrates Simone’s affinity for blues, jazz and folk as well as the American Songbook.

“Mood Indigo” starts the listen with jumpy keys and frisky percussion as Simone’s inimitably soulful vocals guide the stylish climate, and “Don’t Smoke In Bed” follows with a slow burning display of sublime melody and powerful singing.

Elsewhere, the playful keys of the swinging “Love Me Or Leave Me” suite Simone’s diverse pipes in an infectious jazz climate, while the brushed drumming of “My Baby Just Cares For Me” complements the bluesy feel of the album highlight. “Plain Gold Ring” then flows with a soaring, emotive quality as bare musicianship guides a dreamy, ballad climate.

“I Loves You Porgy”, the lone track that hit the charts, lands near the end and recruits a smokey quality, and “Central Park Blues”, the only Simone original, exits the listen with a raw but meticulous instrumental that puts a firm exclamation point on the accomplished debut.

It’s amazing to think that Simone played her first gig only a few years prior to this record, as she delivers with so much poise, skill and diversity on not only an integral piece of her history, but American music as a whole. On this newly remastered stereo version, the classic sounds better than ever, which is no easy feat.

Travels well with: Coniece Washington- Shades Of Shirley Horn; Nina Simone- The Montreux Years

Courtney Yasmineh

Red Roses And Cowgirl Dreams

Self-Released, 2021

9/10

Listen to Red Roses And Cowgirl Dreams

The Minneapolis singer-songwriter, guitarist and author Courtney Yasmineh returns with 14 new, original songs, and much like everything that’s comprised her work, it’s forthright, heartfelt and full of gritty and tuneful rock’n’roll that covers many genres and moods.

Yasmineh puts the title track in the opening spot, where her distinct and inviting vocals bring us into an autobiographical folk-rock setting with some country spirit, and “Hope 20/20” follows with an initially calmer spirit that bounces with a charming, melodic display of rural rock.

Elsewhere, “The Creek” makes good use of piano and light drumming alongside Yasmineh’s poetic singing, while the soulful “Trying Times For Love” recruits a romantic approach of lush songwriting. “Ruined For Life” then showcases Yasmineh’s powerful, emotive singing amid the graceful keys and strategic percussion.

Close to the end, the album’s best tune, “Sixty Years”, gallops with a punchy and infectious energy of country tinted rock you won’t be able to sit still to, and “Whitney Rose Don’t Give Up” exits the listen with her vivid storytelling that surrounds rock, blues and gospel moments.

Now 8 albums deep and several decades into her career, Yasmineh’s body of work is consistently great and relatable, and this installment with the producer Rob Genadek is as a great place to start as anywhere in her catalog, especially if you enjoy folk, country, gospel, and timeless rock’n’roll that runs parallel to names like Bob Dylan, Emmy Lou Harris or Cat Stevens.

Travels well with: Courtney Yasmineh- Songs From The Open Road; Haley- Pleasureland

Train Fantôme

Nous sommes dans un rêve

Cudighi, 2021

8/10

Listen to Nous sommes dans un rêve

Train Fantôme is Lise Dua and Antoine Nouel, a pair of French artists who play a curious brand of stylish folk, pop and indie-rock across these 8 very distinct and creative tracks.

“Pour s’aimer comme avant” starts the listen with a calm, dreamy version of indie-folk that’s musically bare and vocally harmonic in a psychedelic sort of way, and “Tu ne partiras jamais” follows with a poetic and atmospheric blend of beauty and warmth as the duo work together cautiously.

At the halfway point, “Labyrinthus” recruits effective synth amid the haunting climate, while “La ruine” presents an almost lullaby approach to the soothing folk-pop that seems familiar but is actually quite unique.

Advancing towards the end, “Sors de mon coeur” shimmers with cultured melodies amid some of the best singing present, and the title track exits the listen with light drums and well timed keys amid the soft, wispy vocals.

Certainly minimal and often bordering on angelic, once again the Cudighi Label familiarizes us with a band we’ve never heard of, but can’t wait to hear more from.

Travels well with: Various Artists- Forest Bath; Mustat Kalsarit- Yo

Esbe

Under Cover

New Cat, 2021

8/10

Listen to Under Cover

A composer, producer and singer from London, though Esbe might have roots in classical music, this covers album shows just how diverse she is, which includes altering each tune in her own inimitable vision.

The Lennon and McCartney tune, “Yesterday”, starts the listen with much warmth amid breathy singing in the gentle climate that near the middle brings in electro-pop ideas, and “A Taste Of Honey” follows with Eastern influences into the eloquent and powerful singing that’s as dreamy as it is memorable.

In the middle, “Night And Day” flows with an orchestral quality to the haunting landscape, while “The Sound Of Silence” brings in subtle but effective percussive sounds to the stirring delivery. “Eleanor Rigby” then makes great use of strings in its hazy and adventurous presence.

Near to the end, the cinematic demeanor of “Summertime” brings both tense and sophistication to the album highlight, and “Silent Knight” exits the listen with a spellbinding version of the traditional where Esbe puts a spacey twist on it that in other hands might be a fumbling mess, but just adds intrigue in her capable skill set.

Under Cover represents songs that inspire Esbe, and the jazz, orchestral, folk, artistic and sampled tweaks she uses to transform them makes for a fun, heartfelt and unexpected listen that you’ll want to revisit over and over.

Travels well with: Diane Moser- Birdsongs; Dana Sipos- The Astral Plane

Victor Gould

In Our Time

Blue Room, 2021

8/10

Listen to In Our Time

The veteran piano player and esteemed composer Victor Gould returns with his 4th album as bandleader, where he’s aligned with Tamir Shmerling on bass and Anwar Marshall behind the drum kit as well as several guests deeper into the listen.

“Blue Lotus” starts the listen with the keys, drums and bass interacting in highly melodic and flowing ways that emit much beauty and warmth, and “Lord Wallace” follows with Gould’s divine finger acrobatics highlighting the graceful, playful climate of timeless jazz song craft.

Halfway through, “Showtime” trims the pace back with a calm, stirring display of sublime piano work amid light percussion, while “Queen Alma” showcases firm key manipulation in the solo piano waltz. “Infant Eyes”, by Wayne Shorter, then recruits Dayna Stephens on tenor saxophone for the layered, meticulous album highlight that swings charmingly.

“In Our Time” lands near the end and moves swiftly, where dynamic musicianship between the keys, drums and bass is appreciated in 6/8 time, and “In Memoriam” exits the listen with violin from Yoojin Park and Monica Martin, as well as Erica Gailing on viola and Dale Jeong handling cello as the orchestral influence makes an impact alongside the strong chemistry between the trio.

An artist with some serious academic credentials, Gould has performed with/recorded with legends like Esperanza Spalding, Branford Marsalis and Buster Williams, among many others, and his work certainly holds its own against those names where his creative jazz vision is nothing short of flawless.

Travels well with: Lukasz Pawlik- Long-Distance Connections; The Dave Mullen Ensemble- Solace

Noah Kite

Drunk Lil Guy

Self-Released, 2021

9/10

Listen to Drunk Lil Guy

A Portland, Oregon artist with a penchant for indie-folk sounds, on this outing Noah Kite’s in the company of Laura Gershman (oboe, English horn), Alan Cook (percussion), Esme Schwall (cello, harmonies) and Colin Corner (upright bass), as well as some guests, as they dissect the highs and lows of relationships with much diverse songwriting.

“Carrion Birds” starts the listen with precise drumming alongside expressive singing from Kite, as graceful strings enter the orchestral influenced indie-folk ideas, and “Hair Ties” continues this exploration with intricate guitar and soaring vocal harmonies that are both intimate and adventurous.

The title track lands in the middle and brings a warm and eloquent spirit to the cello focused climate, while “Take Me To Your Room” moves swiftly, playfully and with a firm chamber rock approach. “Right Again”, one of the album’s best, then brings a stirring, emotive demeanor to a very cautious delivery.

Near the end, “Corvallis” builds into a lush, busy display of timeless folk sensibilities amid a charming dreaminess, and “Shoreline” exits the listen with Catherine Feeny’s harmonies illuminating the sublime beauty that we could listen to endlessly.

An album that alternates between tense and serene, Kite and company mesh folk, chamber, orchestral, symphonic and indie moments into a very unique and absorbing effort that makes an immediate and lasting impression.

Travels well with: Our Band- Bright As You; Julia Kasdorf- Motel

The Felice Brothers

From Dreams To Dust

Yep Roc, 2021

9/10

Listen to From Dreams To Dust

The Felice Brothers are back with the same, new line up from the outstanding Undress album, i.e. Ian and James Felice, Jesske Hume, and Will Lawrence, and they’ve got a few guests with them as a batch of new tunes were laid down in a 1873 church in New York that Ian renovated himself.

“Jazz On The Autobahn” gets the listen started off with the band’s inimitable brand of folk and Americana as horns from Nate Walcott add even more diversity to the glorious, atmospheric opener, and “To-Do List” follows with a busy, melodic spirit as smooth singing, warm keys and thumping drums work together to produce a humorous tune.

There’s 12 songs here, and each one is great. The middle offers some of the best, including the soulful, somber storytelling of “Be At Rest”, while “Valium” recruits firm acoustic strumming in a nostalgic folk/country climate that welcomes Mike Mogis on pedal steel. “Celebrity X” then gets dreamy in its very eclectic template that truly showcases just how wide the influences present are.

Deeper still, “Land Of Yesterdays” lands in haunting, poetic territory, where many voices meet for the speak- singing, and “We Shall Live Again” comes off as a gospel experience of talking and singing that certainly points towards Bob Dylan during some of his best years.

Now 8 studio albums deep, The Felice Brothers continue to impress and expand their horizons into their most experimental and ambitious work to date. A band who are on their own path more now than ever, this primarily slow burning the superbly textured effort doesn’t waste a second with its charming, sometimes eccentric creativity.

Travels well with: The Jayhawks- XOXO; Calexico- Algiers

Bernie Mora & Tangent

No Agenda

Rhombus Rho, 2019

8/10

Listen to No Agenda

Guitarist extraordinaire Bernie Mora brings his skills to the Tangent ensemble on this fusion record where funk, jazz and rock all collide in unpredictable ways.

“Mon Cheri” starts the listen with a busy display of bluesy guitar acrobatics as horns highlight the setting, and “Commando Roll” follows with intricate saxophones in the vibrant, funk filled atmosphere.

Elsewhere, the title track finds a commanding place to reside amid fluid guitar rock and crisp percussion, while “Take Me Away (Reprise)” travels calmer waters with an elegant jazz backdrop as Corey Alley’s keys steal the show.

Deeper cuts bring us the guitar shredding of “Cup A Joe”, and “it’s A Honu World” exits the listen with Hawaiian chanting from Leilani Rivera Low and fretless bass from “Eric Unsworth on the eclectic and fun conclusion.

A fusion record in the truest sense of the word, it’s best not to try to categorize Mora and company, but to just enjoy the spirited, carefully crafted variety that is No Agenda.

Travels well with: Jared Gold- Reemergence; Chris Pasin- Ornettiquette