George Cotsirilos

In The Wee Hours

OA2, 2026

9/10

Listen to In The Wee Hours

The Bay Area guitarist George Cotsirilos bring his nylong string acoustic guitar to these intimate songs that are both originals and covers which incorporate jazz and classical ideas.

“A Nameless Poet” starts the listen with Cotsirilos’ rich and meticulous playing that’s heartfelt and tonally inviting, and “Come Sunday” follows with plenty of melodic gestures in between the warm strumming.

“Do Nothing Till You Hear From Me” arrives in the middle and enlists complicated progressions that are heartfelt and playful, while “Like Someone In Love” is indeed romantic but not without some upbeat and frisky flavor.

Close to the end, “The Night We Called It A Day” is strong on mood amid the rich guitar playing and graceful demeanor, and “This Is All I Ask” exits with a radiant and pretty delivery of complicated but easily accessible finger acrobatics.

An album of much depth, Cotsirilos’ attentiveness to timing and harmonies draws us in from beginning to end with his unparalleled nylon string guitar prowess.

Travels well with: Jared Hall- Hometown; Owen Chen- The Ghibli Collection

Andrew Moorhead

Mirage

OA2, 2026

9/10

Listen to Mirage

The esteemed pianist Andrew Moorhead is in the company of Francois Moutin and Ari Hoenig for these 7 personal tracks that focus on time signatures, melodic cycles and the space between muscle memory and unfiltered spontaneity.

“Faster Etudes” starts with Moorhead’s quick keys and Hoenig’s frisky drums that help cultivate a mesmerizing start, and “Intro Tune” follows with 8+ minutes of melodic gestures and meticulous dynamics that make great use of Moutin’s animated bass.

“Phased Voice” lands in the middle and radiates a dreamy approach that’s cautious and swirling with harmonics, while “Mirage” illustrates intimacy between the trio, where the mature keys, crisp drums and strategic bass make an indelible impression.

“Boogie” exits, and will indeed get your body moving to the bouncy and playful rhythm of the charming finish.

Moorhead’s music is always evolving, and in this setting it emits an intellectual and striking jazz language that is entirely his own.

Travels well with: Anthony Brankar- Manifestations Of A Diasporic Groove & Spirit; Dave Slonaker Big Band- Shifty Paradigms

Dawn Clement

Dear Ms. Dearie

Origin, 2026

8/10

Listen to Dear Ms. Dearie

The always impressive vocalist Dawn Clement is joined by Steve Kovalcheck, John Clayton and Jeff Hamilton for this swingin’ tribute to the singular vocalist/pianist Blossom Dearie, where the 15 tracks embraces humor, heart and sophistication.

The frisky “The Gentleman Is A Dope” starts the listen with Clement’s upbeat keys and Clayton’s bouncy bass making for a charming opener, and “Tout Doucement” follows with Kovalcheck’s warm guitar that suits Clement’s expressive pipes.

“I Like You, You’re Nice” arrives near the middle and finds itself in dreamy territory, where the pretty singing is met with light guitar, while the animated “It’s Love” bops and shakes with an infectious energy thanks to Hamilton’s lively drumming and the swift piano.

Near the end, “The Party’s Over” comes with a bluesy appeal thanks to the meticulous guitar playing and soulful keys amid the flawless vocals, and “Home” exits with a cozy appeal that’s elegant, relatable and emotive.

A diverse body of work that’s upbeat and can also find itself in balladry, Clement and her company employ wit, sharpness and rhythm into these timeless vocal jazz selections.

Travels well with: Dawn Clement- Delight; Peter Lin- Identity

Ann DuHamel

Prayers For A Feverish Planet: New Music About Climate Change, Vol. 1

New Focus, 2026

9/10

Listen to Prayers For A Feverish Planet: New Music About Climate Change, Vol. 1

The pianist Ann DuHamel fleshes out her first volume of commissioned work, where the pieces are inspired by and point twards the climate change crisis.

Erick Tapia’s “Solipsismo” opens with the diverse keys radiating beauty and mystery in a cinematic fashion, and “Forgive Them Not, For They Know What They Do”, by Karen Lemon, follows with the animated keys that have the ability to mesmerize firmly, just as they do tug on the heartstrings.

Moving into the middle, Ian Dicke’s “White Parasol” moves elegantly via the rumbling versus dreamy gestures, while “frostbYte: chalk outline” spends 11+ minutes drawing us into the gorgeous restraint and bursts of colorful keys amid the electronics of the Daniel Blinkhorn piece.

Close to the end, Judith Shatin’s “Plain Song” injects spoken word alongside the unpredictable keys across 4 segments of enlightenment, and “Those Who Watch” exits with wordless vocals, soundbites and spoken word in between the upbeat, playful key progressions.

A solo piano effort unlike any other, the sonic attention, electroacoustic stabs and timbral expression makes for a body of work that’s all substance and employs extended techniques superbly.

Travels well with: Michael Jones- The Promise Of Escape; Eric Chasalow- …arching, reaching, breathless

Gabriel Espinosa

The Brazilian Project

Origin, 2026

9/10

Listen to The Brazilian Project

The bassist and composer Gabriel Espinosa brings his Mexican heritage to these worldly ideas that enlists a large cast for the 10 rich tracks.

“Gabriela” opens with André Lopez’s flowing keys complementing the rich brass and dreamy climate, and “Caramello” follows with Mafran Maracana’s frisky percussion adding much to the rich textures and warm melodies.

The halfway spot belongs to “Euro 12”, where Josue Lopez’s well timed flute suits the colorful dynamics, while “Paz” recruits Rafael Barata’s cozy drums and Felipe Silveira’s intimate keys that stir the soul gently.

“Klavier Latino” resides near the end and makes great use of Joabe Reis’ skilled trombone amid Giovani Malini’s fluid guitar, and “Morning Breeze” exits with Daniel Freire’s eloquent bari sax and Hugo Maciel’s electric bass helping inject much beauty.

This is Espinosa’s 8th solo album, and it’s a cross-cultural collaboration that embraces bossa nova ideas, no lack of rhythm and a global jazz appeal that you’re not going to hear anywhere else.

Travels well with: Barry Greene- Giants; Abate Berihun- Addis Ken

Teiku

Klang

Ginkgo, 2026

9/10

Listen to Klang

The Chicago–Detroit avant-jazz quartet, Teiku, mash the skills of Josh Harlow, Jonathan Barahal, Jason Stein and Jaribu Shahid for this unpredictable and exciting sophomore jazz effort.

“Ki Le Noeh (Krumholz melody)” opens with Harlow’s quick keys alongside Stein’s dizzying clarinet acrobatics, and “Ki Le Noeh (Fendrick melody)” follows with Barahal’s percussion and electronics making for strong attention to mood and ambience.

The middle track belongs to the cautious “Khasul Seydur Peysakh (Chasman melody)” that blends the dense keys and rich clarinet with busy and bare moments that showcase Shahid’s well timed double bass, while “Ki Le Noeh (Shita melody)” illustrates the quartet’s inimitable talents into an atypical, improvised display of avant-garde fun.

Closing out the listen is “Odir Bimlikhe (Lunski melody)”, which spotlights Stein’s mesmerizing wind amid Barahal’s fast percussion and the strategic keys and bass.

An outfit that began as a way to interpret their respective families’ unique Passover melodies, this 2nd effort shifts to a broader community, obscure manuscripts, voice recordings, and memories of late-night ritualistic chants that unfold with the melodies transfigured, deconstructed, and reframed via their unparalleled vision.

Travels well with: Stein/Smith/Shead- Hum; Stein/Smith/Shead- Volumes & Surfaces

Dana Fuchs

Live In Denmark

Ruf, 2026

9/10

Listen to Live In Denmark

The blues powerhouse, Dana Fuchs, delivered this raw and emotional set in Kolding, Denmark in 2025, and she’s joined by Jon Diamond, Kevin Mackall and Piero Perelli for the energetic 10 tracks.

“Double Down On Wrong” opens the listen with Fuchs’ sturdy pipes alongside Perelli’s thumping drums in the dense climate, and “Hard Road” follows with Diamond’s thick guitar adding much to the rhythmic delivery.

“Nothing You Own” arrives halfway through and is a softer moment that allows for Fuchs’ expressive pipes to shine in a calmer but no less impactful setting, while “Home Is Where The Hatred Is” benefits from Mackall’s animated bass lines that give the album a hint of funk flavor.

“Curtain Close” and “Sympathy For The Devil” exit the evening. The former blends the meticulous rhythm section with colorful guitar playing and Fuchs’ inimitable pipes, and the latter injects grit and melody into the classic tune that’s turned into a timeless blues rocker.

A recording with no overdubs or studio fixes, this is 100% Fuchs as she performs- vulnerable, robust and authentic, and it’s pretty likely you’ll agree it’s also some of today’s finest blues-rock.

Travels well with: Beyond 1969- Coming’ Back To The Blues'; Matthew Curry- One For The Ride

Phil Haynes/Ben Monder/Peyton Pleninger

Terra

Corner Store, 2026

8/10

Listen to Terra

The drummer/composer Phil Haynes sure does put out a lot of music, but that’s not a problem seeing as how he’s one of the best in modern jazz. This time, he’s in a live setting for an hour with Ben Monder and Peyton Pleninger.

“Moonrise / Aurora / Starlit / Meteor” occupies the first 20 minutes, and it’s strong on ambience, as Monder’s mesmerizing guitar complements Pleninger’s rich sax bouts, and “Vision Quest / Three Visitors” follows with the rich wind and frisky guitar amid Haynes’ strategic drumming in a mysterious setting.

“Skylark” lands on the back half and illustrates a distinct cautiousness amid the trio’s cozy gestures, while “Borealis / Showers / Dreams / Dawn” exits with 15+ minutes of swirling free jazz exploration that unfolds with a haze of acrobatic drumming, soulful sax and cryptic guitar playing.

Simply improvisation at its finest, the atmospheric and ethereal interaction embraces tonality, texturing and even haunting bouts for yet another excellent release by Haynes.

Travels well with: Phil Haynes- Transition(s); Phil Haynes- Electric

Laurent Ziliani

Anyone Can Whistle: A Sondheim Journey

Self-Released, 2026

9/10

Listen to Anyone Can Whistle: A Sondheim Journey

A highly creative take on Stephen Sondheim’s work, the Big Band and vocal storytelling here sees Laurent Ziliani welcoming an all star cast.

The cozy mood of “Wait” opens with Peter Erskine’s colorful drumming adding much to rich saxophone from Zac Zinger and Ziliani’s smooth voice, and “Isn’t He Something!” follows with a playful spirit, as Michael Valerio’s strategic bass suits Alex Terrier’s alto sax and the expressive vocals.

“Not A Day Goes By” arrives in the middle and welcomes Nick Mancini’s well timed vibraphone to the textured mood, while the title track moves with a dreaminess that enlists Cédric Hanriot’s elegant keys via the sublime intimacy.

Arriving late, “The Best Thing That Ever Has Happened” is an uplifting and charming moment that benefits from the layered beauty and Ziliani’s soaring pipes, and “Loving You” exits with a romantic spirit thanks to the heartfelt singing and stirring instrumentation.

An effort with a theatric presence, Ziliani and the band surround themes of love, contradiction, humor and emotional uncertainty for this very sophisticated version of Big Band and vocal jazz.

Travels well with: Paul McCandless Quintet- Live At Kimball’s East; Aristo Sham- Timeline

Daniel Bennett Group

The Deconstructed Songbook

Manhattan Daylight, 2026

9/10

Listen to The Deconstructed Songbook

The wind wizard Daniel Bennett returns with an 11th album, where a mix of originals and covers take help from his excellent band.

The warm spirit of Wes Montgomery’s “Road Trip” starts with Bennett’s rich sax alongside Jason Yeager’s flowing keys, and “The Town Supervisor”, an original, follows with Koko Bermejo’s skilled drums that add much to the melodic sax.

Joni Mitchell’s “Both Sides, Now” arrives in the middle and radiates harmonically thanks to the cozy sax and Nat Janoff’s fluid guitar, while “My Shining Hour” benefits much from Jeff Dingler’s meticulous bass via the intimate climate of the Harold Arlen/Johnny Mercer tune.

“Here, There And Everywhere” exits, and blends the charming rhythm section, heartfelt sax, crisp drums and dreamy guitar with eloquence that does justice to The Beatles’ vision.

A fusion effort that touches on pop, jazz and rock, Bennett and his crew know their way around a song you won’t soon forget.

Travels well with: Daniel Bennett Group- Mr. Bennett’s Mind; Benjie Porecki- Faster Than We Know

Brad Marino

Agent Of Chaos

Spaghetty Town, 2026

10/10

Listen to Agent Of Chaos

The New Hampshire rocker, Brad Marino, returns with no lack of hooks, animated guitars and melodic spirit for these 13 punchy tracks.

“Blowing Smoke” opens with Marino’s driving guitar and smooth voice alongside Gene Champagne’s scrappy drums that emit plenty of power-pop spirit, and “Dissin’ & Dismissing” follows with a slower pace, as Ron Mullens’ keyboards add much to the sing-alongs.

Closer to the middle, “I Don’t Want You Anymore” allows for Dave Strong’s lively guitar playing amid the anthemic quality, while “Calling Your Bluff” gets a bit more rugged and invites obby Davis’ frisky bass lines to populate the album’s best.

The punk energy of “Make This Last” arrives late and recruits Zack Sprague on drums to complement the infectious delivery, and “Between The Planets” exits with a trio setting that balances pop, punk and garage-rock in a head bobbin’, toe tappin’ sort of way.

This is Marino’s 5th album and it is great. Put him on a playlist with the legendary New England punks The Queers and The Prozacs and enjoy every tuneful, syrupy sweet moment of his timeless punk’n’roll.

Travels well with: Los Pepes- Out Of The Void; Pat Todd & The Rankoutsiders- “… there’s pretty things in Palookaville…”

Nathan Evans Fox

Heirloom

Free Dirt, 2026

9/10

Listen to Heirloom

The North Carolina native and Nashville resident Nathan Evans Fox pens songs with themes of family, faith, labor and inheritance, and he’s got a lot of help for these authentic stories.

“Lots Of Beginning” opens with warm guitar and Fox’s deep pipes alongside thumping drums and subtle banjo, and “Little Bit Of Shine” follows with rich melodies and vivid storytelling that’s indebted to classic country ideas which recruits pretty female vocals.

“Landlords, Bill Lee, Etc” arrives in the middle and blends grit and heartfelt ideas into the rootsy climate, while “Negative Space” finds itself in intimate territory via the soft vocals and gentle guitar.

Arriving late, “Jesus and the Buck” offers a bare, folk influenced moment of beauty in a duet setting, and “I Know The End” exits with a similar stripped back quality that’s vulnerable and poetic.

Fox plays pedal steel, acoustic guitar, banjo, strings, keys, and aux percussion here, as he creates a thoughtful and articulate body of work that makes for a distinct and relatable version of Americana.

Travels well with: India Ramey- Villain Era; Nathan Evans Fox- Wasted Love

The Sensational Country Blues Wonders!

Music Sounds Better When You’re Stoned

Self-Released, 2026

9/10

Listen to Music Sounds Better When You’re Stoned’

The brainchild of Gary Van Miert, as The Sensational Country Blues Wonders! he explores time, weed, the universe and mortality via his fusion and retro formula.

The title track leads with some spacey fun before the thick guitar and crisp drums enters alongside Van Miert’s distinct vocals, and “Come Out And Play” follows with elegant strings that suit the heartfelt delivery and radiant guitar.

“Changing Of The Guard” arrives at the halfway point and is bit rugged and psychedelic amid the expressive singing, while “My Doppelganger” is a frisky moment of bright keys, playful bass and humorous singing about seeing your twin that comes with a nostalgic-spirit.

Later on, “Stoners Circus” uses accordion and an indeed carnival-esque mood that discusses a circus unlike most others, and “Star Child” exits with a dense haze which showcases a version of country rock that’s atypical and infectious.

A mashing of country, gospel, blues and theatrics with a cosmic-cowboy flair, Van Miert takes influence from Hank Williams, Elvis and gospel quartets for a really fun experience- without or without cannabis.

Travels well with: The Sensational Country Blues Wonders!- If I Stop Moving, I’ll Fall From The Sky; Afton Wolfe- Ophiuchus

Carmen Ratti Band Featuring Jill Dineen

Come To Me

Momojo, 2026

9/10

Listen to Come To Me

The Northern California blues outfit, Carmen Ratti Band, are joined by Jill Dineen’s sturdy pipes for this 2nd studio album.

Ratti’s bright guitar opens the rich climate of “No Delusion”, where Dineen’s expressive voice suits Steve Hazlewood’s frisky bass, and “Get In Line” follows with a soulful quality via the flowing vocals and Randy Hayes’ lively drumming.

Later on, the powerful “Riley” blends colorful guitar and a stylish rhythm section amid the melodic spirit, while “Coming Down” pairs grit and harmonics alongside the soaring singing in a timeless blues climate.

Arriving late, “Uncle Joe” carries reflective nods that align with Tony “Macaroni” Lufrano’s moody keys, and “Come To Me (Extended Version)” exits with a dreamy intimacy that tugs on the heartstrings in its authentic and cautious demeanor.

Even though the album is steeped in the blues, we’re also treated to soul, gospel, rock and funk as Ratti and company use grooves, dynamics and emotion to their advantage.

Travels well with: Rick Vito- Slidemaster; Duke Robillard- Blast Off!

Wax Theatricks

Different Voices

Self-Released, 2026

9/10

Listen to Different Voices

Originally called Earwacks at their inception in 1974, Wax Theatricks made quite a dent locally in the late ‘70s and early ‘80s with their progressive and artistic brand of rock, and here we get to hear songs penned in 1984 for a 2nd album that was never to be, plus cuts from their singles.

“Fell In A Hole” starts the listen with deep vocals and a scrappy rhythm section that allows for Dominic Schaeffer’s well timed sax to shine, and “Different Voices” follows with playful percussion and Tracy Wynkoop’s frisky bass that suits the progressive climate.

Further along, “Conversations” uses grooves and melodies strategically via Benet Schaeffer’s drumming acrobatics and the buzzing guitars, while “Pleasure From Sadness” follows with some traces of post-punk amid Dan (Fojammi) Stefacek’s bright keys.

Closer to the end, “Debris” blends the rich sax alongside David Udell’s hazy guitar with a reflective approach, and “The Scrape”, one of the ‘extras’, balances soft and animated gestures with are detailed but still loose in their delivery.

Even though they didn’t see much fame outside the St. Louis area, Wax Theatricks were clearly ahead of their time, and these prog/art fueled tunes that are strong on instrumentals, can be powerful and even recruit a flute solo, sound as great in 2026 as they did in 1984.

Travels well with: David Udell- It’s Worth It; Delay Tactics- Out-Pop Options/Any Questions?

Michael Jones

The Promise Of Escape

New Focus, 2026

9/10

Listen to The Promise Of Escape

The percussionist Michael Jones assembles 3 works by the composers Pluto Bell, Nicholas Deyoe and Scott Wollschleger that embraces sensitivity, timbre and the colorful aspects of the expressive world.

Bell’s “A Moment Or Two” opens with cautious percussion, where bells, bowls, plates and crotales are complemented by glockenspiel bars with a distinct timbral expression that gets meditative.

“Lullaby”, by Deyoe, follows with drums, woodblocks, glockenspiel and cymbals that emit a harmonic quality amid that has the ability to get haunting and ritualistic in its meticulous nature.

Wollschleger’s “trace-escape-horizon” exits, and offers sonic meditation thanks to the strategic vibraphone, where white noise, intimate textures and high pitched gestures mesmerize us for the 36+ minutes.

A highly intricate effort that is consistently evolving, Jones spends just over an hour enlightening us with his atypical take on contemporary classical via percussive prowess that few others could emulate.

Travels well with: Eric Chasalow- …arching, reaching, breathless; Lei Liang- Six Seasons: Instrumentation Lab

Eric Chasalow

…arching, reaching, breathless

New Focus, 2026

9/10

Listen to …arching, reaching, breathless

The composer Eric Chasalow blends strings and keys into this electroacoustic setting that touches on chamber sounds where each selection carries its own distinct identity.

“The Wings That Bear The Night Away” starts with Mari Kimura’s manipulated violin that radiates tremendous dynamics and cinematic qualities, and “Third Piano Trio: Rock Hill Variations” follows with Clara Lyon’s violin, Hannah Collins’ cello and Steven Beck’s piano interacting with quick and meticulous songwriting that’s exciting.

“Second Quartet” and “String Sextet” arrive in the middle. The former features the meticulous strings of the Lydian String Quartet, who blends space and intimacy via both animated and minimal bouts, while the latter adds Sam Kelder’s viola and Collins’ cello into the dizzying and serene album highlight.

Arrived late, “Disillusionment of Ten O’Clock” enlists David Russell’s voice and cello to the poetic and plucking mood, and ”To The Edge And Back” pairs Julia Glenn’s viola and Beck’s keys that displays expressive changes that are exciting and unpredictable.

A highly detailed project, the emphasis on timbre and structural organization explores chamber and classical music with unparalleled attention.

Travels well with: Lei Liang- Six Seasons: Instrumentation Lab; Richard Carrick- I’Algérie

Hans Thomalla

Dark Fall

Oehms, 2026

9/10

Listen to Dark Fall

The composer Hans Thomalla is joined by some incredible help for this nearly 2 hour project that outlines an opera in 13 scenes based on Goethe’s Elective Affinities.

Act 1 opens with the animated keys and playful strings intersecting with a lively presence, where the storytelling unfolds with tense bouts, frisky moments with frantic keys and even soft gestures, such as “You must be owen”.

Act II leads with the expressive singing and light music of “Look, these journals”, while the melodic stabs of “No. 7 Duet: Nothing Seems As It Used To Be” builds richly.

“No. 9 Quartet: Elective Affinity”, exits disc 1 and it’s a rowdy, upbeat and exciting burst of colorful keys and exciting duet vocals, and disc 2 opens with the warm intimacy of “No. 10 Duet: I Feel That I’ve Begun To Disapper” that eventually turns into an ebullient mood.

Act III closes out the listen, and offers the quick burst of the tense “Do I Remember?”, as well as the eloquent “Curtis! lise!”, that gets more firm later on.

The Grammy winning conductor Alan Pierson and cast including Estelle Kruger, Curtis Uwe Eikotter. Ilse Lila Chrisp and Owen Thomas Berau illuminate Thomalla’s vision that surrounds love, autonomy and self-determination while being confronted with aging and memory loss, which is executed with unparalleled detail and artistic capabilities via the timeless opera.

Travels well with: Hans Thomalla- Dark Spring; Sean Shibe- Vesper

Lei Liang

Six Seasons: Instrumentation Lab

New Focus, 2026

9/10

Listen to Six Seasons: Instrumentation Lab

Lei Liang is aligned with members of Ensemble Dal Niente, Mivos Quartet, loadbang, (nec)shivaree, and the pianist Stephen Dury for these very adventurous 2 discs of atypical chamber sounds.

The brief and cryptic “Prelude” opens with Stephen Drury’s keys alongside a hint of ambience, and it isn’t long until “Season 1: New Ice” blends Ty Bouque’s voice, Andrew Kozar’s trumpet with William Lang’s trombone amid field recording-esque noises.

Further on, loadbang are in attendance for the hissing and/or rain like sounds of “Season 3: Sunrise”, while “Season 5: Cacophony” recruits voice, trombone, Adrián Sandi’s bass clarinet, keys and Tyler J. Borden’s cello via the oddly rhythmic and uniquely soothing 5 chapters.

Disc 2 offers us the 6 ensemble segments of “Season”, where the seemingly otherworldly noises emanate from Mark Abramovoski’s contrabass, Kai Burns’ electric guitar and Nicolette Sullivan-Cozza’s viola, and “Coda” exits with a demeanor that leaves it unclear if it should soundtrack a nature film or sci-fi flick thanks to Kei Otake’s cello and Rachel Brake’s French horn.

A curious effort of multidisciplinary sounds, there’s a distinct chamber presence that you won’t hear anywhere else, as Liang and company make every moment unpredictable and inviting.

Travels well with: Peter Kramer- To A Green Thought In A Green Shade; Richard Carrick- I’Algérie

The Derelicts

Life Of Strife

Digital Warfare, 2019

9/10

Listen to Life Of Strife

It’s been two and a half decades since the last album from The Derelicts, and here the legendary ‘80s punk outfit return with 5 new tunes as well as several tracks pulled from past 7”’s.

“Life Of Strife” starts the listen with charged guitars, thundering percussion and biting vocals in the abrasive opening, and “Wrong With This” follows with a buzzing and incendiary setting of melodic punk rock.

In the grand tradition of punk, most of the tunes aren’t very long- a couple don’t even reach a minute- but The Derelicts leave an indelible mark on the gritty punk’n’roll of “I Walk Alone”, while the blistering “Mr Fuckerman” will have you searching for the nearest pit to leap into.

Near the end, “You Loose” recruits bouncy bass lines in the punchy and jagged rocker, and the most vocally melodic of the bunch, “Don’t Wanna Live”, is classic Southern California influenced punk. Near the end, “Final Fall” offers a rowdy, unrestrained tune with fluid guitar work, and “Time To Fuck Up” ends the album on a 14 second blast of their timeless fury.

An album that grabs you by the throat and doesn’t ease up, The Derelicts were punk before mainstream watered it down, and they remain true to their roots with this visceral, raw display of power and melody. As far as comebacks go, it just didn’t get much better than this.

Travels well with: The Dwarves- The Dwarves Must Die; Gas Huffer- Just Beautiful Music