Ellas Kapell

For All We Know

Prophone, 2023

9/10

Listen to For All We Know

The Stockholm based quartet Ellas Kapell return with a 3rd album, where both hope and sorrow populate these powerful, groove filled and harmonic 10 tracks.

“I Get Along Without You Very Well” opens the listen with Lovisa Jennervall’s warm and soothing voice alongside Manne Skafvenstedt’s graceful keys for the intimate start, and “Autumn Leaves” follows with gentle melodies thanks to August Eriksson’s meticulous bass acrobatics, as the setting turns frisky.

In the middle, “How Could You?” rumbles with Edvin Glänte’s skilled drums alongside Jennervall’s alluring pipes that scat playfully, while “Softly As In A Morning Sunrise” uses the dancing keys and crisp drums that suit the lovely singing.

Arriving near the end, “(They Long To Be) Close To You” showcases the charming vocals amid the dreamy rhythm section, and “For All We Know”, an alternate version of an earlier tune, radiates a timelessness that you can’t not be in awe of.

A stylish, modern look at European jazz, Ellas Kapell touch on improvisation, their Scandinavian heritage and an inviting energy that will always be relevant.

Travels well with: Roger Lin- Exploitation Suite; Tobie Medland- The Aviary

Jeff Sigfried/Sean Friar

Shades

Ravello, 2024

9/10

Listen to Shades

The saxophonist Jeff Sigfried and pianist Sean Friar come together for these solo and duo pieces that radiate both haunting and pretty moments of songwriting.

Friar’s “Shades” opens the listen with the quick flashes of brass alongside unpredictable key manipulation that suits the dark, mysterious landscape, and “Λήθη - επιβεβαίωση - ἀλήθεια [Homage to C.P.]:”, by Joan Arnau Pàmies, continues with 7 segments of swift, subdued and nearly mechanical ideas that present the saxophone is ways most of us have never heard.

Nearing the end, Nicholas Cline’s “Water-Witching” is 13+ minutes of ambience via the atypical sax prowess that cultivates a distinct mood, while “Candlewood”, by Gala Flagello, is the brightest tune, where floating melodies enter the radiant sax and flowing keys.

A record that traverses the possibilities of his instrument with much adventurousness, Sigfried’s sax performance is stunning, and Friar’s meticulous keys don’t disappoint either.

Travels well with: David Therrien Brongo- Confluence; Avner Finberg- The Four Seasons Of Isolation

Various Artists

Symphonic Chronicles Vol. II

Navona, 2024

8/10

Listen to Symphonic Chronicles Vol. II

The Symphonic Chronicles series is back with a small handful of new, revered composers who possess varied backgrounds and techniques for these 6 involved pieces.

Anthony Wilson’s “Númenor” opens the listen with the Royal Scottish National Orchestra’s booming percussion and animated strings guiding the rich delivery that can rumble, too, and it isn’t long until Pyotr Ilyich Tchaikovsky’s “Swan Lake” enters with the Janáček Philharmonic Ostrava’s stirring beauty that weaves in and out of soft and firm gestures.

Residing in the middle, “Stearns Wharf” allows the Brno Contemporary Orchestra’s radiant winds and twinkling moments to shine in the Michael Roush piece, while Margaret Brandman’s “Gentle Summer Rain” is populated by the Moravian Philharmonic Orchestra’s textured precision and warmth.

The last track, Octavian Nemescu’s “Scară Lăuntrică (Escalinner)”, illuminates the dancing strings of the Janáček Philharmonic Ostrava, as both minimal and busy bouts of cinematic and animated instrumentation finish the affair.

An eclectic installment of songs that span peaceful to turbulent moments, there’s also plenty of grace and nature-esque moments to enjoy here.

Travels well with: Vincent Kennedy- Music Of People And Place; Myroslava Khomik- Protest

AeTopus

Cup

Spotted Peccary, 2023

8/10

Listen to Cup

The 8th album from the electronic artist AeTopus (Bryan Tewell Hughes), the 13 songs that make up Cup possess plenty of ambient and experimental gestures.

The atmospheric and cinematic opener, “Pure”, presents much beauty in a mysterious setting, and “Clean Break” follows with a unique dreaminess that’s highly melodic and comes in waves of rich songwriting.

In the middle, “Drue” carries a soft buzzing of soothing, almost nature like ideas, while “Glance” enters more percussive nods of creative and unpredictable ebbs that arrives with a therapeutic appeal.

Close to the end, the noisy fuzz of “Advent” allows for flashes of sci-fi bouts and glitchy manipulation, and “Softgreen” exits with a distinct simmering of swirling, hazy gestures via the electronic wizardry.

A trained visual artist, AeTopus uses space and tension strategically, where the beats and rhythmic structures brush up against IDM and techno for a truly atypical expression of artistry.

Travels well with: David Franklin- Passings; David Arkenstone- Music Inspired By Middle Earth Vol. II

Eddie Roberts & The Lucky Strokes

Eddie Roberts & The Lucky Strokes

Color Red, 2023

8/10

Listen to Eddie Roberts & The Lucky Strokes

Perhaps best known as the guitarist and leader of The New Mastersounds, Eddie Roberts aligns himself with the Southern Rock outfit The Lucky Strokes, who help inject plenty of funk into this debut album.

The frisky and soulful “Whiskey Makes Me Stronger” opens with Shelby Kemp’s powerful voice alongside Roberts’ spirited guitar playing, and “Sweet Dreams” follows with Taylor Galbraith’s fluid drumming suiting the soothing vocal harmonies of the rich climate.

In the middle, the rugged yet melodic “Grits Ain’t Groceries” benefits much from Ashley Galbraith’s playful bass amid Kemp’s rugged pipes, while “Good Morning Lady” gets intimate and pretty thanks to the heartfelt singing and subdued instrumentation.

Landing near the end, “Home Sweet Home” has southern influences all over it, where thick guitars complement the dynamic rhythm section, and “If That’s Your Idea Of Lovin’ (Move It Along)” carries some retro-rock flavor to the driving pace of bluesy ideas.

An ideal listen for those with an ear for funk, blues, soul and rock from the lower part of the United States, each track here is expertly crafted and delivered with no shortage of riffs and scrappy melodies.

Travels well with: Alex Dunn- Southern Star; Floki Sessions- Boots In Place

Natalya Pasichnyk

J.S. Bach Rethinking The Well- Tempered Clavier

Navona, 2024

8/10

Listen to J.S. Bach Rethinking The Well- Tempered Clavier

The skilled pianist Natalya Pasichnyk and the Calmus Ensemble come together for these interpretations of Johann Sebastian Bach’s work, and it unfolds across 4 discs of diverse song craft.

Disc 1 opens with “The Essence: Prelude in C-Sharp Minor, BWV 849”, where sensitive keys and expressive voices flow in and out of much beauty for a very thoughtful start, and it isn’t long until “Annunciation and Birth: Prelude in C Major, BWV 846” swirls with a distinct dreaminess that spotlights the baritone voices.

Disc 2 contains “The Time Is Coming: Prelude in E-Flat Major, BWV 852”, which presents lyrics by Paul Gerhardt and has the fascinating finger acrobatics on piano mesmerizing us, while “Passion: Prelude in E-Flat Minor, BWV 853” emits some of the most powerful singing amid the twinkling keys that builds much intimacy. “Reflection On Death” exits the sung portion, and yields tremendous vocal work with Pasichnyk’s elegant and agile key gestures.

The program repeats on Discs 3 and 4, only in a solo piano setting, which allows us to see the true scope of Pasichnyk’s vision that’s both intellectual and spiritual, and delivered flawlessly.

A listen that’s got plenty of muscle but is also pensive, Pasichnyk explores the bounds of divine inspiration and human existence across these time honored selections.

Travels well with: Wanchi Huang- Imagining Worlds; Michael Cohen- Aria

Middle Sattre

Tendencies

Sad Tree, 2024

8/10

Listen to Tendencies

A rising outfit in the area of queer indie-folk sounds, the Austin, Texas outfit Middle Sattre host 8 musicians for this raw and very personal account of coming-of-age as a queer person.

“I Once Felt Safe” starts the listen with soft vocals and much atmosphere alongside the soft plucking and distinct beauty, and “Hate Yourself To The Core” follows with a soothing folk appeal, where a melodic haze surrounds the intimate singing.

Further into the listen, “Imperfect Hands” offers rich textures of warmth that use Jordan Walsh’s skilled drumming superbly, while “Out” spotlights Hannah Marks’ precisely plucked bass amid the hushed climate.

Arriving near the end, the brighter tone of “Corrupted” comes with a slight buzzing and well timed backing vocals, and “Getting There” exits with poetic singing, some slight synth and layered strings for a stylish chamber presence.

There’s a lot of instruments in attendance here, including harp, accordion, trumpet and flute, to name a few, as well as a bit of a contrast between devastating versus beautiful song craft, and it makes for an atypical folk experience.

Travels well with: Somni- Gravity; The Seshen- Nowhere

Wanchi Huang

Imagining Worlds

Navona, 2024

8/10

Listen to Imagining Worlds

The globally praised violinist Wanchi Huang brings her inimitable playing to these 6 scenic and diverse composers in a solo setting.

Adolphus Hailstork’s “Suite For Solo Violin” starts the listen with Huang’s very adaptable skills making for fascinating bowed and plucking techniques, and “For The Fallen” follows with amplified violin and electronics that make for a distinct atmosphere of mystery in the Judith Shatin piece.

At the halfway point, “In Memoriam” tugs on the heartstrings with the stirring string manipulation that emits much intimacy via Meira M. Warshauer’s vision, while Warshauer’s “Bracha” allows for an introspective demeanor of beauty and grace.

Jeffrey Mumford’s “An Expanding Distance Of Multiple Voices” arrives near the end, and in 5 chapters it radiates both firm and calm moments, and “The Red Violin Caprices”, by John Corigliano, exits with swift and adventurous playing from Huang’s finger acrobatics.

A body of work that embraces both dark and light moments, Huang illuminates the voices of modern American music with an paralleled attention to detail and execution.

Travels well with: Vincent Kennedy- Music Of People And Place; Michael Cohen- Aria

Holler Choir

Songs Before They Write Themselves

Self-Released, 2023

8/10

Listen to Songs Before They Write Themselves

An outfit spearheaded by the singer, guitarist and songwriter Clint Roberts, Holler Choir bring their Appalachian influences to this debut LP that will appeal to fans of rootsy sounds.

The swift bluegrass ideas of “One Less Lie” starts the listen with flowing vocals, as a very heartfelt presence is immediately inviting, and “Fair Weather Love” follows with charming banjo plucking, as Roberts’ expressive pipes guide the vivid storytelling.

“Hard Pill” occupies the middle spot, and is an intimate moment with gorgeous harmony vocals, while “Hamlet Blues” uses Norbert McGettigan’s upright bass flawlessly amid the smooth strings in a way that will get your body moving.

Landing near the end, “Heart Shaped Box” puts a very mountain-esque spin on the Nirvana classic with much emotion, and “Ain’t Too Soon” exits with swift finger pickin’ and no lack of melody guiding the pretty and dynamic finish.

It won’t surprise most of us that Holler Choir reside in Asheville, and the impressive finger work, soaring vocals and nods to old time sounds, modern Americana and timeless bluegrass make for an excellent starting point.

Travels well with: Time Sawyer- Dig A Little Deeper; Pierce Edens- A Life In Trade

Jeremy Wilms

The Fighter

Self-Released, 2023

8/10

Listen to The Fighter

The Atlanta multi-instrumentalist Jeremy Wilms returns with a 3rd album, where Nick Robbins, Bo Bedingfield and some guests join him for the thoughtful 9 tracks.

“All The Roads” starts the listen with Wilms’ pretty acoustic guitar and Bedingfield’s skilled drums for the poetic folk-rock, and “Born To Die” follows with a slower pulse of gentle Americana, where the charming vocal harmonies courtesy of Julia Haltigan make for much warmth.

Moving towards the middle, the rich “I’ll Start Tomorrow” benefits from Robbins’ skilled bass, while “Props” welcomes David ‘Smoota’ Smith’s well timed trombone that suits the graceful keys of the soulful climate.

Deep onto the back half, “The Fighter” is a frisky moment of rhythmic roots rock that will get your body moving to the crisp drums and spirited guitar, and “Yes I Know” exits with a hint of grit amid the melodic delivery of the album’s best track- not that each tune isn’t great in its own right.

A sought after session player who has also played on Broadway, in Chico Hamilton’s band, and currently plays metal/prog-rock in NOMOTO, Wilms is nothing if not adaptable, and these cozy, relatable songs settle in quite nice.

Travels well with: Benjamin Jayne- Broken; Cat Bells- Partly Cloudy

Jun Iida

Evergreen

OA2, 2024

8/10

Listen to Evergreen

The trumpet extraordinaire Jun Iida finds himself in the company of Aubrey Johnson, Masami Kuroki, Josh Nelson, Jonathan Richards and Xavier Lecouturier for these 10 modern jazz tracks.

The playful and warm “Gooey Butter Cake” starts the listen with Iida’s soulful trumpet alongside Lecouturier’s agile drums and Richards’ cozy bass lines, and “Akatombo” follows with Nelson’s intimate keys amid Johnson’s radiant and gorgeous singing.

Halfway through, the rich “Bellarosa” uses Iida’s glowing brass with Kuroki’s fluid guitar for the melodic gestures, while “Forgotten Memories” spotlights Nelson’s dreamy keys in a setting that puts much emphasis on mood in its heartfelt delivery.

Arriving near the end, the subdued “Song For Luke” makes great use of the meticulous bass and quaint keys in a very hushed display, and “Holding On To Autumn” uses uplifting scatting and Iida’s animated trumpet for a contemporary jazz finish.

A body of work that’s edgy, creative and touches on blues, pop, soul and classical ideas, Iida’s vision is one that’s very much aligned with tone, melody and, at times, a distinct haunting approach.

Travels well with: Bill Anschell- Improbable Solutions; Peter Erskine- Bernstein In Vienna

Glorious Wolf

Mysterious Traveler

Self-Released, 2023

9/10

Listen to Mysterious Traveler

The studio project for the artist Ruud Dielen, as Glorious Wolf the multi-instrumentalist takes influences from ‘70s prog-rock, where both instrumentals and sung tunes are as diverse as they are memorable.

The soaring “Repentance” opens with driving guitars and firm drums that allow for soft ebbs of dreaminess, too, and “Slow Down” follows with no lack of melody, where waves of rich songwriting benefit from the playful bass and strong attention to mood.

In the middle, “Howling At The Moon” brings thick guitars and throbbing bass to the crisp drumming acrobatics, while the title track is particularly intimate, as ambience and mystery enter the soothing delivery.

Close to the end, the meticulous guitars of “Battlefield” and textured, dynamic appeal give the tune a cinematic quality, and “Beautifully Broken (Part 1&2)” hosts some of the best singing, where soulfulness enters amid the beauty and grace.

Other than Kike Paglia on drums and Celia van Onna’s harmony vocals, Dielen handles the entire affair, and similarities to King Crimson, Pink Floyd and Gentle Giant are appropriate and give insight into how great this is.

Travels well with: Nick Fletcher- Quadrivium; AQ&F- 2nd Life

Bill Anschell

Improbable Solutions

Origin, 2024

8/10

Listen to Improbable Solutions

The legendary jazz pianist Bill Anschell finds himself in a larger setting here, where the acoustic jazz trio allow for electronics for a very unique 9 tracks.

The atmospheric “Ambulator” leads the listen with Anschell’s lively keys and Brian Monroney’s precise guitar in the stylish climate, and “Nimbus” follows with the dreamy keys and Chris Symer’s agile bass making for a reflective mood of beauty.

Moving into the middle, “Naked Truth” is a more intimate moment of sophisticated piano and Jose Martinez’s cautious drumming, while “Is This Thing Even On?” is part club ready and part jazz fueled, where Symer’s electric bass and is met with Anschell’s playful electronica.

“Abandoned” and “Outburst” exit the listen, as the former radiates a mysterious beauty via Jeff Busch’s reserved percussion and the mesmerizing keys, and the latter uses KJ Sawka’s fluid drums, the buzzing electric bass and Anschell’s meticulous finger acrobatics for the memorable finish.

A truly unique and exciting body of work, this is Anschell’s 6th under his own name, and it’s further proof of a lengthy and esteemed career that is constantly evolving.

Travels well with: Peter Erskine- Bernstein In Vienna; Francesco Crosara- Circular Motion

Bob Corritore & Friends

Phoenix Blues Rumble

VizzTone, 2023

8/10

Listen to Phoenix Blues Rumble

The harp wizard Bob Corritore surrounds himself with some serious blues vocalists for these 12 rowdy and memorable tunes.

“Big Fat woman 480 Lbs” starts listen with Corritore’s lively harp, Henry Gray’s animated keys and Chico Chism’s soulful pipes for the bluesy spirit, and “Come To Me Baby” follows with Chief Schabuttle Gilliame’s gritty voice alongside Richard Innes’ frisky drums that populate the rugged climate.

Further along, “Jennie Bea” welcomes Johnny Rapp’s spirited guitar amid Dino Spells’ soaring pipes that helps cultivate much melody, while “Read Bad Day” allows Corritore’s harp to shine, but Tommy Dukes’ expressive pipes and warm guitar don’t disappoint, either.

Elsewhere, “The Glide” benefits from Sugarray Rayford’s sturdy vocals, Junior Watson’s mesmerizing guitar and Fred Kaplan’s firm keys for the album’s best, and “I’m Evil” exits with Big Pete Pearson’s powerful singing and Chris James’ emotive guitar illuminating the intimate finish.

These songs were recorded between 1987-2017, and spotlights artists from Corritore’s adopted home, Phoenix, who make for no lack of grooves and plenty of timeless blues that we could never tire of.

Travels well with: Bob Corritore & Friends- Somebody Put Bad Luck On Me; Bob Corritore & Friends- High Rise Blues

DB & The Soho Nine-Six

DB & The Soho Nine-Six

Self-Released, 2024

8/10

Listen to DB & The Soho Nine-Six

The bassist and composer David Barber makes for an impressive debut here, where a large cast of players accompany him for these fusion filled 9 tracks that are as unpredictable as they are creative.

The lively “Flea Circus” opens the listen with Kevin Winard’s skilled drums and Justin Claveria’s animated sax complementing Barber’s flowing bass, and “Frickafumyum” follows with thick bass lines and Daniel Zimmerman’s meticulous guitar licks.

In the middle, “Captain Hook” showcases Charles Maynes’s log drum techniques and Jim Mooy’s glowing trumpet in both busy and calm gestures, while “Panther In The Plaza” pays close attention to mood via the bouncy bass, Chris Barron’s fluid piano prowess and exciting percussion.

Close to the end, “Neighbor (Won’t You Be Mine)” welcomes Jamey Scott on lead guitar, which suits the melodic nature of the rhythm section, and “Second Beach- A Meditation” exits with Peter Albrechtsen’s atmospheric manipulation guiding the intimate and sensitive closer.

A first effort that embraces, funk, ambience and no lack of grooves in its jazz fusion vision, Barber and company illuminate festive and pretty sounds across this enlightening experience.

Travels well with: Peter Jonatan And The Metropole Orkest- Psalms Symphony; Jim Ellis Quartet- Bizet: Carmen In Jazz

Francesco Crosara

Circular Motion

OA2, 2024

9/10

Listen to Circular Motion

The piano and synth Seattle resident and Italian native Francesco Crosara brings along Clipper Anderson, Mark Ivester, Farko Dosumov, D’Vonne Lewis, Osama Afifi and Xavier Lecouturier for these 10 diverse and rich tracks.

Crosara’s animated keys and Dosumov’s bouncy bass start the listen with flowing climate of “Preludio Flamenco”, and “Longing” continues with a calmer pace of elegant keys and Lewis’ light drumming for the cautious mood.

The title track occupies the middle spot, where Ivester handles drums and Anderson’s glowing bass radiates amid Crosara’s playful keys, while “Kurama” rumbles a bit for the textured delivery that’s populated by Afifi’s precise bass.

The last 2 tracks are impressive, too, where “One Day Honey One Day Onions” comes with some funk flavor, as Crosara handles synth and Dosumov’s acrobatic bass lines are stunning, and “Sarava” exits with an upbeat and harmonic finish of swingin’ fun.

The influences from Chick Corea and Dizzy Gillespie won’t be hard to spot or appreciate here, as Crosara and company make for an imaginative and rhythmic good time.

Travels well with: Gabriel Guerrero & Quantum- Equilibrio; Frank Kohl- Pacific

Peter Erskine And The Jam Music Lab All-Stars

Bernstein In Vienna

Origin, 2024

9/10

Listen to Bernstein In Vienna

The inimitable drummer Peter Erskine and his excellent company celebrate the work of Leonard Bernstein, where his fondness for Vienna is front and center across these 8 in depth songs.

The frisky “Somewhere” starts the set started with Erskine’s fluid drums amid Danny Grissett’s glowing keys and Andreas Varady’s warm guitar, and “I Feel Pretty” follows with a playful spirit via Bertl Mayer’s upbeat harmonica and Robert Unterkofler’s lively sax.

“Viennese Summer” occupies the middle spot and radiates a distinct intimacy thanks to the melodic keys and meticulous drums, while “Lonely Town” showcases Danny Ziemann’s precise bass alongside the spirited guitar.

“Some Other Time” and “Cool” exit the listen, where the former is an introspective moment of beauty and grace via the cautious instrumentation, and the latter is a stylish and animated finish of bouncy keys, soulful brass, a dynamic rhythm section and Cozy Friedel’s violin acrobatics.

The sound quality here is fantastic, where Erskine plays an all brass set of drums, and the company he keeps help make for a cultured, jazz fueled night that touches on blues and pop music, too.

Travels well with: Arthur Kell Speculation Quartet- Live At LunÁtico; John Bishop- Antwerp

Diane Coll

Old Ghosts

Happy Fish, 2024

8/10

Listen to Old Ghosts

The Atlanta resident Diane Coll returns with a sophomore album, where the darker tinted listen brings us 12 tracks that touch on many ideas across the folk spectrum.

The warm spirit of “Another Rhyme” starts the record with Coll’s rich voice amid cozy acoustic guitar, and “When You Fly” follows with a calmer pace of intimate songwriting that uses poetic singing with much impact.

Halfway through, “I Don’t Know” makes great use crisp drums for a bit of grit amid the talking and singing, while “This Heart” carries a soothing dreaminess that welcomes pretty acoustic guitar alongside Coll’s expressive pipes.

Residing near the end, “Back In The Fold” is quite mesmerizing with both scatting and eloquent storytelling that benefits from light drumming, and “Love, Pt. II” is indeed an introspective finish that tugs on the heartstrings with its powerful demeanor.

Coll takes a therapeutic approach to her song craft, where nods to ‘70s AM/FM radio and self-reflection are key, and it results in pieces that are nothing short of absorbing.

Travels well with: Amy Stroup- Since Frank; Natalie Price- Natalie Price

Judy Whitmore

Come Fly With Me

Arden House, 2023

8/10

Listen to Come Fly With Me

The always impressive vocalist Judy Whitmore returns with a 4th album, where a large cast accompanies her for this musical journey around the world.

The cozy and charming “It’s Nice To Go Trav’ling” opens with Whitmore’s bright voice alongside Josh Nelson’s warm keys, and “Come Fly With Me” follows with a dreamy ambience thanks to Jamey Tate’s light drums and the expressive singing.

Deeper into the listen, “There’s A Small Hotel” makes great use of Andrew Synowiec’s warm guitar and soulful brass, while “Moonlight In Vermont” is highly intimate thanks to Edwin Livingston’s soft bass and Whitemore’s gorgeous pipes.

Moving towards the end, the sweeping strings of “Autumn In New York” carries a romantic demeanor amid the poetic delivery, and “Around The World” exits with a cinematic presence of beauty and grace, where Whitmore hits some high notes in the sublime finish.

The esteemed arranger Chris Walden is on hand for these jazz fueled selections, as Whitmore’s voice perfectly suits the swingin’ moments just as it does the gentler selections.

Travels well with: Judy Whitmore- Isn’t It Romantic?; Ada Bird Wolfe- Odd Bird

Press Club

Wasted Energy

Hassle, 2019

10/10

Listen to Wasted Energy

An outfit from Australia with a penchant for punk, garage, indie and alt-rock sounds, this sophomore album finds the quartet showcasing an incredible chemistry with a mature, intelligent and energetic presence where not a second is wasted.

“Separate Houses” gets off to a kinetic start with buzzing melodic punk alongside raw but sweet female vocals on the anthemic opener, and “Dead Or Dying” follows with a punchy and swift pace of angular, calculated instrumentation.

Near the middle, “Obession” puts the dynamic skill of the rhythm section on display with post-punk influences, while “Get Better” offers a scrappy, punky tune with plenty of attitude and memorableness.

Deeper cuts bring us the rowdy and tuneful “How Can It Not Be Love?”, and the record highlight, “I’m In Hell”, which finds the perfect balance between bristling punk rock and modern indie-rock with bouncy bass lines. “Twenty Three” ends the record on a strong exit with cautious moments in their head bobbin’, fist pumpin’ formula.

As someone who has spent decades listening to records across the entire spectrum of punk, let me say this: Press Club are better than 80% of the bands under the punk umbrella, and Wasted Energy is one of the best of 2019.

Travels well with: Save Ends- Warm Hearts, Cold Hands; Smoke Or Fire- This Sinking Ship