The Scarlet Goodby

El Camino Adios

The Label Group, 2025

9/10

Listen to El Camino

Dan Murphy and Jeff Arundel, i.e. The Scarlet Goodbye, sure are prolific, and this sophomore album brings their time honored skills to 10 timeless songs.

The rugged and melodic rock of “To Feel The Sun” opens with warm keys and harmonic vocals, and “The Last Time” follows with a calmer mood of fluid and thumping folk-rock.

At the halfway point, “Temptation Eyes” carries some mystery in the lush and unpredictable climate of sturdy riffs and strong attention to percussion, while “Sad Burlesque” comes with a dreaminess of thoughtful song craft and ambience.

The title track lands near the end it emits intimacy amid the vivid storytelling and soulful singing, and “The End Of Summer” exits with beauty, breeziness and heartfelt songwriting.

A highly reflective outing that’s rooted in Americana, there’s haunting moments and balladry to appreciate alongside the high energy rock from these two veterans who bring a wealth of talent and skill to great songs.

Travels well with: The Scarlet Goodbye- Hope’s Eternal; The Scarlet Goodbye- Speedway

Sam Graber Band

Love & Fury

Self-Released, 2024

8/10

Listen to Love & Fury

The Minneapolis multi-instrumentalist Sam Graber is joined by Marc Partridge and Brian Reidinger for 10 songs with a lot of heart and soul, where a powerful and heartfelt mood is present from beginning to end.

“Higher” opens with Graber’s firm keys alongside Reidinger’s fluid drums via the melodic pop-rock, and “Delirous” follows with Partridge’s rugged guitar that suits the raw yet tuneful singing of the gritty rock.

At the halfway point, the rhythmic and dance floor ready “Get Ya Some” carries an infectious energy, while “Echo” thumps and flows with warmth and soulful singing from Graber.

Deeper still, “I Don’t See A Tear” is a bit jangly, very playful and showcases Graber’s meticulous and frisky bass lines, and “Nothing Left To Show” allows for a modern rock album highlight that balances tunefulness with a hint of rawness.

A powerful and timeless display of inimitable talent, the Twin Cities has never been short on rock bands destined for the radio, and the Sam Graber Band certainly hold their own against legends like Soul Asylum and Golden Smog.

Travels well with: December Friend- In A Warmer Way; Jared McCloud- Vacancy

Yakima Symphony Orchestra & Chorus

Mendelssohn 2 & Mendelssohn 2.1

Albany, 2025

8/10

Listen to Mendelssohn 2 & Mendelssohn 2.1

The Yakima Symphony Orchestra celebrates 50 years making music with this interpretation of Mendelssohn’s monumental choral Symphony No. 2, where Martha Guth, Bonnie Joy and Matthew Plenk lend their voices.

“Symphony No. 2, Op. 52 "Lobgesang" (Hymn of Praise)”: No. 1a, Sinfonia, Maestoso con moto” opens with the booming drums and soaring strings interacting with much grace and power, and isn’t long until “Symphony No. 2, Op. 52 "Lobgesang" (Hymn of Praise) : No. 1c, Sinfonia, Adagio religioso” offers flowing melodies amid the breezy winds.

Landing in the middle, “Symphony No. 2, Op. 52 "Lobgesang" (Hymn of Praise) : No. 3, Tenor - Recitativo - Allegro moderato; "Sing ye praise" - "He counteth all your sorrows” showcases Plenk’s expressive tenor pipes alongside the dynamic orchestra, while “Symphony No. 2, Op. 52 "Lobgesang" (Hymn of Praise) : No. 6, Soprano, Tenor - Allegro un poco agitato - Allegro assai agitato; "The sorrows of death had closed all around me" - "We called thro' the darkness" pairs Guth’s soprano pipes with Plenk’s range that makes for an expressive album highlight.

Residing close to the end, “Symphony No. 2, Op. 52 "Lobgesang" (Hymn of Praise) : No. 9, Soprano, Tenor - Andante sostenuto assai; "My song shall be therefore Thy mercy” is full of vivid storytelling thanks to the eloquent singing and meticulous instrumentation, and “The Night is Departing: Mendelssohn 2.1” exits with a sublime intimacy that spends 15+ minutes mesmerizing us with its tonality, ambience and mystery.

An effort that balances the channels of faith and the sensibilities of Romantic spirit, there’s plenty of soft bouts and rich textures to enjoy.

Travels well with: Dallas Chamber Symphony- Chasing Home; Christopher Rouse- Concertos

Mother Coyote

When The War Comes

Self-Released, 2025

8/10

Listen to When The War Comes

The recording moniker of the Minnesota resident Andriana Lehr, as Mother Coyote she pens 4 songs about transition, where several local musicians help flesh out the pop fueled listen.

Andy Thompson’s moody keys open with “When The War Comes”, as Coyote’s powerful and mysterious voice enters the dense climate that uses Grady Kenevan’s drums superbly, and “Eden” follows with Jordan Katz’s lively horns complementing the high notes that soar with emotion.

The back half of the listen offers “The Tower” and “Great Unknown”. The former leads with intimacy before building into a textured EP highlight that makes great use of Dan Lawonn’s cello, while the latter emits modern pop ideas amid the playful keys and bright brass.

Coyote is now a mother, and that transition is touched on here with themes of birth, death and soul searching that unfolds with sincerity and a strategic balance of light and dark moments.

Travels well with: Rebecca Aadland- Stronger Broken; The Twins Of Franklin- This Life

Peter Erskine & The Jam Music Lab All-Stars

Vienna To Hollywood: Impressions Of E.W. Korngold & Max Steiner

Origin, 2025

8/10

Listen to Vienna To Hollywood: Impressions Of E.W. Korngold & Max Steiner

Peter Erskine and his crew tip their hat to the work of two Viennese composers, E.W. Korngold and Max Steiner, and it makes for a diverse and intricate 12 songs.

The energetic “March Of The Merry Men” starts the listen with Erskine’s marching band style drumming alongside Thomas Gansch’s vibrant trumpet, and “Sterbelied” follows with Danny Grissett’s gentle piano and Fabricio Pereira’s calm bass setting an intimate mood.

Further along, “Romance” welcomes Flip Phillip’s dreamy vibes amid Herwig Gradischnig’s flowing sax for much grace, while “Belle Waiting” benefits from Andreas Varady’s meticulous guitar work via the rich album highlight.

Near the end, the animated “A Summer Place” blends the frisky percussion and stylish rhythm section with soft melodies, and “Ghost Coda” exits with Alyssa Park’s gripping violin alongside a distinct mood of mystery.

An extremely involved affair that takes on a cinematic appeal, Erskine and company make every moment memorable thanks to the improvised jazz formula.

Travels well with: David Friesen- A Light Shining Through; Jason Keiser- Kind Of Kenny

Groovology

Almost Home

Sugartown, 2025

9/10

Listen to Almost Home

The Hawaii outfit Groovology bring much talent and experience to these originals that don’t shy away from grooves and solos.

The warm spirit of the title track opens with Aaron Aranita’s flowing wind and keys alongside Scott Shafer’s frisky drums, and “Mambosaki” follows with the playful piano and David Yamasaki’s meticulous guitar making for a rhythmic moment.

In the middle, “The Path” is an intimate moment that benefits much from Ernie Provencher’s strategic bass that helps set the mood, while “The Road Less Traveled” showcases Aranita’s sax prowess with much and meticulousness via the elegant album highlight.

Landing closer to the end, “Manoa”, the only track with vocals, allows for Sandra Tsukiyama’s charming pipes to guide the soft gestures, and a longer version of “The Path” exits with a radiant and graceful ambience, where all 4 players interact with fluidity and timeless jazz qualities.

A fantastic starting point for the quartet, the funk bouts, dreaminess and bursts of swingin’ fun make every track worth repeated visits.

Travels well with: Dave Stryker- Stryker With Strings Goes To The Movies; Eric Person- Rhythm Edge

Jessica Jones Quartet

Edible Flowers

Reva, 2025

8/10

Listen to Edible Flowers

The tenor saxophonist Jessica Jones is in the company of Tony Jones, Stomu Takeishi and Deszon Clalborne across this 6th release that showcases 4 originals and 2 covers.

“Manhattan” starts with both Jessica and Tony contributing warm sax amid Takeishi’s playful bass in the lively jazz climate, and “Bird’s World” follows with Claiborne’s diverse drumming alongside the animated bass and flowing winds.

The middle track belongs to the breezy melodies of “No Relation/Just Us”, where a frisky interaction is much appreciated, while “Little Melonae” is a bare moment that builds into a stylish and dynamic album highlight.

The final track, “Soft Target”, then recruits some rock and funk nods that blend into a busy but controlled exit.

A highly colorful affair where all 4 players bring their inimitable skills, all the tunes are unpredictable and exciting, as the quartet touch on timeless jazz qualities that will always be relevant.

Travels well with: Karl Latham- Living Standards II; Cliff Korman Trio- Urban Tracks

Grant Sabin

Work

Gitcha, 2024

8/10

Listen to Work

The multi-instrumentalist Grant Sabin brings along A.J. Fullerton and Forrest Raup for these 10 songs that take influence from Robert Johnson, R.L. Burnside with the grit of Tom Waits, Morphine, and UGK.

The thumping spirit of the title track opens with Sabin’s soulful pipes alongside Fullerton’s lively bass in the blues climate, and “Baby Wanna Be Right” follows with Raup’s scrappy drumming suiting the bouncy guitars of the infectious rhythm.

At the halfway point, the rugged yet tuneful “Picture” showcases Sabin’s powerful pipes amid his thick guitar, while “Didn’t Sell My Ring” showcases grooves in spades via the animated rhythm section.

Landing close to the end, “Sunny Days” flows with a mesmerizing quality thanks to the meticulous drumming and swirling guitars, and “Lucky Frog” exits with a breezy mood of swift melodies and lush guitar work that suits the poetic singing.

The themes surround the ideas of woe, fictional crime and betrayal, and though the music is certainly blues rooted, you’ll also enjoy bits of folk, rock and even hip-hop thanks to Sabin’s unique vision.

Travels well with: Brightwire- Here, But Gone; Julian Taylor- Pathways

Judy Wexler

No Wonder

Jewel City Jazz/A-Train, 2025

8/10

Listen to No Wonder

The veteran jazz vocalist Judy Wexler returns with a 7th album, where plenty of musicians help her flesh out 12 songs from the Great American Songbook.

The lively scatting of the title track opens with Danny Janklow’s soulful tenor sax and Steve Haas’ meticulous drumming making for much warmth, and “The Summer Knows” follows with Jay Jennings’ well timed trumpet and Larry Koonse’s moody guitar emitting a timeless jazz climate.

In the middle, “Wish You Were Here” benefits much from Gabe Davis’ animated bass that suits the expressive singing, while “Dance Me To The End Of Love” welcomes Jeff Colella’s graceful melodica and Bob Sheppard’s frisky clarinet for the album’s best that’s not short on grooves.

“A Weaver Of Dreams” and “The Night We Called It A Day” exit the listen. The former places Jennings on flugelhorn and Janklow on alto flute via the rich dynamics, and the latter is intimate, piano fueled moment that showcases Wexler’s powerful and soaring voice.

All the interpretations here are quite personal, as Wexler puts her own spin on classics in a heartfelt and timeless demeanor.

Travels well with: Judy Wexler- Back To The Garden; Laila Biali- Wintersongs

Diane Coll

Up From The Mud

Self-Released, 2025

8/10

Listen to Up From The Mud

The Atlanta singer-songwriter Diane Coll returns with a 4th solo record, where the personal songs welcome Daniel Groover, Jonny Daly, Barry Watson and Erica and Daniel Holloway.

The atmospheric title track starts, and uses Coll’s harmonium and Daly’s dreamy electric guitar with much warmth, and “Eyes” follows with Coll’s bright pipes that suit the flowing guitar from Groover and his thumping drums, too.

Deeper into the listen, “Devil’s Got Nothing” touches on retro-rock ideas thanks to Watson’s meticulous bass and some grit, while “Fool’s Gold” tugs on the heartstrings via the elegant cello from Erica and Daniel Holloway, which complements the poetic vocals.

“Today” and “All Is Well” exit the listen. The former is a timeless folk strummer with expressive singing, and the latter carries ambience, beauty and grace in the dreamy finish.

Certainly centered in the area of folk-rock, Coll handles vocals, acoustics, piano/keys, harmonium, and hang drum with much care for the sincere and timeless effort.

Travels well with: Karen Jonas- The Rise And Fall Of American Kitsch; Jordie Lane- Tropical Depression

Edelston & Dulcimer

Making Waves

Self-Released, 2024

9/10

Listen to Making Waves

The debut album from Sam Edelston, and it’s a classic rock inspired effort that uses dulcimer to flesh out both originals and covers.

“Looking At The Wave”, an original, opens with Edelston’s meticulous dulcimer and expressive voice amid Chris Howard’s lively percussion, and “Wild Horses” is an intimate moment of beauty via Kevin Kelly’s soft bass and Shawn Murray’s restrained drums.

Moving closer to the middle, the always playful “Sweet Caroline” offers one of the most atypical versions of the Neil Diamond hit, while Teddy Parker’s distinct voice and Edelston’s hammered dulcimer make a lush climate across “Colour My World”.

Nearing the end, the rowdy yet precise “Ace Of Spades” emits a different kind of grit for the Motorhead cover, and “You And Me On The Rock” puts Parker’s upbeat violin to good use that helps illuminate the sunny melodies.

The first of its kind as far as rock music featuring a dulcimer, you may have heard these songs before, but they’ve never sounded like this, and that’s a big part of the appeal.

Travels well with: Alex Lubet- Songs In The Time Of Plague; Nic Vardanega- New Beginning

Faded Remembrance

Dying Age

Bitume, 2024

9/10

Listen to Dying Age

The solo project of the multi-instrumentalist Tamas Albert, as Faded Remembrance he blends a wealth of influences into these 9 unclassifiable but heavy tunes.

“Vanquished Dreams” starts the listen with the sounds rain, before soft ambience unfolds with melody, and the title track follows with bright brass and chugging guitars for a doom influenced climate of abrasive metal and bellowing vocals.

In the middle, “Tragic Journey” blends razor sharp electric guitar with an ominous backdrop, while “Shroud Of Mourn” carries a mesmerizing mood of swirling and mysterious ideas that segue into a thick and biting delivery.

Further still, “Sublime In Agony”, the album’s best, pairs grungey moments with metal and no lack of atmosphere, and “A Silent Embrace” exits with bright synth and a black metal presence that pounds just as it does retain melody.

A very contrasting effort of light versus dark textures, similarities to Pan Thy Monium will be appreciated, as Albert meshes gothic, doom and old school ‘90s flavor meticulously.

Travels well with: Ektör- Ektöristan; Onioroshi- Shrine

Andy Hanson

Roots

Self-Released, 2024

8/10

Listen to Roots

The Wisconsin artist Andy Hanson pens 10 folk and Americana tunes, where a very sincere and timeless debut makes an indelible impression.

The powerful and intimate “Foresight” opens the listen with Hanson’s expressive voice and fluid acoustic guitar, and “Rose Blossoms” follows with spirited harmonica that complements the poetic storytelling.

“Roots” and “Maybe” occupy the middle tracks. The former uses warm brass amid the crisp drums and deep singing, while the latter, which is the album highlight, is a rich and cozy duet of touching folk song craft.

Residing close to the end, “Hard Truth” has Hanson’s diverse pipes exploring the introspective mood, and “All The Way” exits with breezy guitar, gentle melodies and smooth singing that tugs on the heartstrings.

A somewhat therapeutic effort, Hanson looks back at his formative church years and the turbulence of childhood, and it makes for a relatable and memorable first record that can draw comparisons to Bob Dylan, Drew Holcomb or Jeffrey Martin.

Travels well with: Jared McCloud- Vacancy; Chris Murphy- The Red Road

Karen Jonas

Lucky, Revisited

Self-Released, 2019

8/10

Listen to Lucky, Revisited

The Virginia songstress returns about a year after her impressive Butter album, and much like the title implies, Karen Jonas brings us 9 tunes from her first 3 albums, plus 2 covers, and they’re stripped down to raw intimacy that’s still plenty frisky and adventurous, too.

“Ophelia” gets the album off to an unexpected start with ultra-quick guitar playing on a barnyard rocker where Jonas shows us that her strong, soulful pipes have never sounded better, and “Lovesick Blues” does justice to the original with some playfulness in the classic Hank Williams tune.

Elsewhere, “Lucky” brings a darker folk spirit to the listen, while Bob Dylan’s “It Takes A Lot To Laugh, It Takes A Train To Cry” is a display of sublime beauty in a hushed setting.

Near the end, “Country Songs” lives up to its title with some warm Nashville twang, and “Money” recruits a shuffling pace along with intricate guitar work for one of the best tracks present. “Gospel Of The Road” finishes the record just as timeless as it started, with vivid storytelling and a bare acoustic guitar accompanying the graceful exit.

Jonas flirts with honky tonk, jazz and, of course, country and Americana with Lucky, Revisited, and even if you’ve heard these songs before on her earlier work, they’re reborn here with plenty of mature, sophisticated and fine tuned fun.

Travels well with: The Lone Bellow- Walk Into A Storm; Ryan Culwell- Flatlands