ROSCOE TRIPP is not a man (though I suppose he might be) but is actually a thrash-rock band from the Washington DC area. Formed in 2021 by producer and lead vocalist Greg Fine, the band’s recordings and live shows harken back to the early 00’s music scene.

The band members are Tony Vitez (lead guitar), Masterjee Bumbu (rhythm guitar), Cass Foley (bass) and Ash Tressel (drums). The band’s new EP is titled We All. Fine clarifies that this release was originally meant to be just the single “We All” but they had enough B-sides to create a 4-song EP. Recording took place at Sunday Coffee Studios (Washington DC), Cue Recording Studio (Falls Church, VA) and Blue Room Studios (Bethesda, MD). All tracks except “Just” were mixed and mastered by Gabe Wolf. "We All" jumps out of the speakers (or directly into your brain via headphones) like an out-of-control Supertrain. Fine calls it “an energetic punk-adjacent alt rock song that we have been opening or closing sets with over the last year.” Fine’s lyrical inspiration was a song by Modest Mouse. In the context of losing his father, Fine considered the idea that time is cyclical, and perhaps he’d see his father once more “if time looped back again.” All the guys play in triple time, with fuzz power chords overlaid with speedy melodic riffs.

Fine has a classic rock voice that can’t help but affect you with lyrics like “Neither a start nor an end / Right where we were / I can’t wait to see you again.” For the choruses the guys cut the tempo in half and take a dramatic pause with a swelling, orchestral rock background. There’s a short, wild guitar solo with traces of Cow Punk, followed by an almost a cappella section in the style of The Lumineers. “When the Stalks Are Low (The People’s Version)” starts with one of the ballsiest bass sounds I’ve ever heard, like it was recorded 200 feet below the earth! Fine says this is the third version of a fan favorite, with the first being longer with an F- bomb and the second a shorter, “clean” radio edit. “This is the version fans always wanted.” The song I’m hearing is jumpy, kind of funky and features dramatic chorus vocals as in track one.

Having been alive in early 2000 I’m definitely getting flashbacks! I like how this band’s hard rock sound is always tempered by ghostly keyboards or distant, echo’d guitars. “Cut Self Not” is a cover of a song by math rock band Faraquet, and was originally released on a vinyl compilation album “Yesterday & Today: DC Does Dischord.” This track features amazing guitar parts and killer stop-start arrangements, confirming my suspicion that this band could do a prog album without thinking twice. I hate to say that a cover tune is my favorite but this really kicks major butt.

​Just as good is the final track, an interpretation of Radiohead’s “Just.” It packs all the power of the original but feels slightly higher pitched and a bit more acoustic in spots. Fine mentions that “Tony Vitez’s guitar work on tracks 3 and 4 is insane, and we wanted to highlight that by including them together.” There’s no arguing his logic, as the final solo here goes to the stratosphere and explodes into a literal supernova. Go play it right now if you don’t believe me! As a short collection for a novice (me) these were very interesting track choices, showing a wide range of styles and sounds from an awesome band. I loved it and you will too!

The New Professionals are an indie band from New York City with a classy name that belies their earthy, ragged rock sound. Band leaders Richard Evans (guitar/vocals) and Jerry Hart (guitar/vocals) met in college and quickly developed a musical partnership, jamming and writing songs together. After graduation the founders joined up with Isaac Pincus (drums), Oliver Divone (bass/synth) and a couple others to create The New Professionals, releasing a self-titled debut album in 2021. Thanks to our old pal Covid-19 there were some cast changes and downtime, but at last we have a follow-up titled Come Here Creature. 

“Suit and Tie” begins mysteriously with a muffled studio voice (“Okay, ready set…”) with quietly-picked electric guitars slowly filling the soundscape. With a quick pause, the band roars in at full volume. I was thrilled to hear that ragged double guitar-bass-drums sound with plaintive vocals that recall Sebadoh, one of my favorite bands. Right away the band does some interesting tricks with subtle tempo changes and interesting chord voicings. After just two minutes out of six, it already feels like there’s been enough content for three different songs. How they keep all these tempo changes straight, I have no idea!

“Chicago” is an even faster, tighter arrangement with one guitar handling the clusters of basic chords while the second adds grace notes that echo into the stratosphere. Isaac Pincus looks like a young lad in pictures but his rolling, tumbling kit work had my jaw scraping the floor. “Alimony” is an even harder rocker but the topic seems a strange one for college grads! I’m hearing a lot of lyrics where “money” is rhymed with “funny” like in Badfinger’s “Rock Of All Ages.” 

Interestingly the next track shares a song title with Badfinger. “Come and Get It” takes a moment to pull back the volume for a more muted but still heavy sound, where you can really bask in the different chord formations atop the very tight (and much clearer) rhythm section. You can even hear Divone on tambourine! On a chugging rock level, this is my favorite so far, and I’m still loving the Lou Barlow-style vocals.  “See No White” is a 7-minute track that continues the band’s interlocking guitar and tempo-shifting explorations. There’s moments here where the chord changes and raw energy reminded me of the Beatles on “The White Album.” Drummer Pincus again provides the glue and lots of flash. “Whining” features a gorgeous descending minor chord scheme that reminded me of Maria McKee’s solo work. The lead vocal does have a bit of a lost, “whining” quality while still moving along in perfect harmony with the backing; not exactly Eddie Vedder but with that level of commitment. There’s pathos in lines like “Maybe I’m ashamed that you were whining / I don’t know why you weren’t strong.” 

“Interlude” features baroque-style guitar patterns, soon joined by chiming harmonies. I sort of thought this would be a Bach-like interlude but after one minute the rock band sound fully returns. It’s a no-lyrics jangle-fest and I dig it, especially when the conclusion returns to the Bach-like arrangement and ghostly guitar harmonics. “Caught in a Pity” is another acoustic-based tune with Badfinger-Beatles charm. “Hang His Hat” concludes the album in similarly intimate style, though using jangly electric guitar. Evan’s vocals feel so confessional and naked that it’s like he’s sitting right across from you.

There’s 13 songs here in total but there’s never a drop in quality or energy. Definitely a keeper for me and a must-listen for you!

The Impliers are a wacky 2-man indie pop project from Denver, and they’re back with a brand new single and video combo titled "Make Your Move." Dan Hartman and Charles Ingram are known for changing their image, visual brand and genres multiple times a year, and this new track is described as “a strange and surreal single from their upcoming concept album, dissecting love from A-Z.”

My introduction to The Impliers was with the single and video for “Lonely Meets The Only.” At that time I learned the guys first met at age 15 and wrote songs with weird guitar tunings in a North Carolina shed. Eventually their songs began popping up on compilations adjacent to Fugazi, Jawbreaker and the like. They also have a background in video  production and comedy, which is quite clear in their music videos. Musically they span countless genres that may include psychedelic dream pop and electronic music, with influences like Tame Impala, Men I Trust, Depeche Mode and Prince. However, the boys assert that this new single moves into a different genre terrain than any of their previous tracks. The Impliers prefer to call their new single “the soundtrack to the music video,” so let’s have a look.

The video is the kind where the key figures appear in a white Nowhere Land. Dan and Charles appear, barely moving as if they just got out of bed. The music is a Reznor-like thump at a laconic tempo, with a processed voice hypnotically chanting “You are not a part of my friends and me.” A woman in a denim dress appears, and her shoulder-bobbling constitutes a lot more dancing than the boys have been doing so far. Background dancers soon proliferate (including multiple images of a cute single Mom) seemingly causing our Implier Hosts to actually try some moves. The visuals then switch to a car abandoned in a snow scape, and dulcet Prince-like vocals take over for the monotone chants. But then it’s back to our dancing troupe with the original beat!

The member with the big mustache (Charles?) does most of his dancing with his eyes, his hair and his jaw. Suddenly he’s the single mom, complete with kitty and living room furniture! After the kitty grows to mammoth size, there’s a funky, tooting sax solo by Dan (note to the guys: maybe wear undershirts next time?). Meanwhile the background players switch up at random. Credited actors are Julianna Beckert, Mathea Tanner, Bryan Hartman and Renee Roush. Musically the saxophone soloing leads to a horn-drenched climax like a Jazz Orchestra from space. Musically this is my favorite part of the song.

Though I probably prefer the last video I watched, this one is certainly dynamic and fun. There’s lots going on and the visuals really spike to the music. You’ll love it!

Bett Padgett's Beneath Blue Water, her 11th studio album, is a testament to her range as a multi-instrumentalist, seamlessly blending guitar, clawhammer banjo, mandolin, piano, and harp into a textured folk tapestry. The album opens with "We All Are Family," an inviting track that radiates warmth through both instrumentation and Padgett’s soothing vocal delivery. It’s a song that feels effortless, joyfully basking in its own heartwarming simplicity.

"Boy and the Apple Tree" strips things down, leaving space for the acoustic instruments to shine. The sparse arrangement allows a contemplative mood to settle in, balancing reflection with a sense of quiet solace. "Matty Groves" takes a playful detour, its renaissance fair aesthetic adding a quirky twist to the album’s tone.

"In My Dream (Beneath Blue Water)" stands out with its somber cinematic scope, anchored by gorgeous cello work that deepens the song’s emotional resonance. As the album progresses, Padgett’s varied approaches keep you engaged, from the bluegrass inflections of “His Name Was Bard” to the airy, whimsical charm of “If I Were a Cloud.” There’s a touch of Joanna Newsom’s eccentricity in the later tracks, where the arrangements grow more intricate and exploratory.

Beneath Blue Water offers a unique blend of emotions and genres, creating a listening experience that feels deeply personal yet wide-ranging. It’s an album that invites you into Padgett’s world, one that balances folk tradition with an adventurous spirit.

bettpadgett.com

Ron Whitemyer hails from Michigan, crafting rock tunes that demonstrate his sharp songwriting instincts. "What A Broken Heart" opens with an unadorned yet effective drumbeat that sets a steady foundation. The track weaves in minimal but purposeful layers—lead guitar and vocals that hover without overwhelming. 

A second lead guitar sneaks in, creating a mesmerizing loop of circular melodies. Whitemyer’s vocals exude a quiet confidence, subtly pulling you into his world, embracing a raw, understated intimacy that feels refreshingly unpolished.

"First Star" steps up the energy, leaning into an old-school rock groove. The bass lays down a solid foundation, and a well-defined hook elevates the track into something instantly memorable. It’s the kind of melody that sticks with you long after the final note fades—simple yet potent, nodding to classic rock’s timeless appeal.
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With "Summer Wins," Whitemyer dips into 90s alternative rock territory, blending emotion with catchy vocal lines. There’s an ease to the songwriting here that makes it effortlessly appealing, but beneath that is a depth of feeling that rewards repeat listens. Whitemyer's ability to craft songs that resonate emotionally, while remaining accessible, speaks to his skill. His knack for marrying rock and pop sensibilities keeps you coming back for more, and leaves you eager to hear what comes next.

Laura Glyda is a singer-songwriter from Chicago who crafts songs within the folk, pop, and Americana genres. Her latest album is titled This Heart Is A Machine. I am new to her music, but her talent and craftsmanship are evident in every track.

After trying out a few comparisons in my mind, Glyda most reminds me of Mary-Chapin Carpenter from her prolific 90s period, with that same sincere, beautiful vocal style and similar themes of soul-searching and troubled love. Glyda’s musical upbringing was steeped in the acoustically driven classics from the '70s along with '80s synth-pop. Her diverse influences include the introspective melodies of the Indigo Girls to the infectious hooks of Taylor Swift. She’s also shared the musical stage with artists like Melissa Etheridge, Colin Hay (Men at Work), and The Ballroom Thieves.

Thematically, Glyda’s new album is said to be a deeply personal memoir that chronicles the end of her marriage while embracing “the transformative power of solitude.” Through her music, Glyda hopes to reflect on “the enduring power of belief, trust, and love, even in the face of adversity.” “A Beautiful Light” opens with the unmistakable sound of a live, acoustic piano. Glyda’s tentative melodies fall like raindrops. When she sings, it’s with that same hesitant, searching quality until she alights on what appears to be the truth: “Maybe you never loved me at all.” In that moment, the song proper begins, with a compelling arrangement of confident, lovely vocals, piano, strings, and drums. I don’t know where this was recorded, but it’s clearly a pro job.

“After You” is our first song with a brisk folk-rock tempo and maybe the first to remind me of Mary-Chapin Carpenter or even Dolly Parton. It’s a gently rousing statement of belief within the fallout of a broken love: “There is only everything after you.” The introspective piano and classical guitar interplay that opens “Whatever We’ve Done” is positively baroque. Glyda sings more quietly for this mellow arrangement, but her voice loses none of its power. On this track, I’m feeling a bit of Nanci Griffith’s confessional harmonies from the “Flyer” era.

“Take Only What You Need” is even closer to Nanci, in that there’s a bit of an Irish lilt in the sweet, soaring chorus vocals. This is maybe my favorite track thus far, simply due to the optimism and confidence of the lyrics and arrangement (“There is more ahead than all you leave behind / Take only what you need / There is salvation in the emptiness / And love within the loneliness…”). More exquisite strings follow this song through. “Bravery” has one of the best lyrical openings: “Can this be called bravery / Walking away from someone who can’t wait for me to leave / But they won’t hold the door?”

​This track has the polish of a folk-country radio hit, with an irresistible chorus and absolutely stellar singing throughout. “The Garden,” having a simpler acoustic opening, also draws attention to Glyda’s deceptively basic but evocative lyrics: “I said I loved you / Even though you said it first / Brought my kiss like water to your lips / You were dying there of thirst.” Glyda’s amazing voice, the acoustics, and the strings are a sublime combination. The final song is the title track “This Heart Is A Machine,” and Glyda really has constructed a beat that resembles a heartbeat machine. It starts a bit techno, but then kicks into a solid folk-rock groove with the vocals leading the way with (yes) heart and confidence. Whoever the studio players are, everyone is on point, and the production is stunning. Well, I certainly found myself impressed with Laura Glyda, and have no qualms recommending this album to one and al

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johnnyrockdog (not a typo) is a singer-songwriter with a new single called drive. His artist name is the culmination of many nicknames indicating that Johnny ROCKS. He cuts a striking figure with his long white ZZ Top beard along with dark glasses, green tennis shoes and a jaunty cap. 

Johnny believes in the healing power of music, and has been writing songs since he was a child. His songs speak of freedom, love and personal transformation, and feature his unique philosophical, social and emotional ideas. Hoping to inspire change through his music, he donates a portion of any profits to various causes. Musical influences include The Beatles, James Taylor, Robyn Hitchcock, Elvis Costello and The Grateful Dead. 

In prepping for this single, I listened to a couple other johnnyrockdog tracks on Spotify. He definitely has a voice that recalls the grit and authenticity of Bruce Springsteen, with band music that has the clarity of Tom Petty’s rock and roll. “Drive” begins with a descending acoustic piano pattern, quickly joined by tight drums, assertive bass and electric fuzz guitar. Johnny’s vocals are a block of stacked tracks, sounding like a younger man singing for the Moody Blues or another classic rock band. The song’s construction is basically the same chord sequence throughout, but adding depth and intensity at each step. The lyrics about “driving” could be about the literal act of car travel, but more likely are a rumination on this long journey we call life: “The road ahead, my friend, belongs to me and you… we’ll drive until the morning comes.”

This is an excellent single, but plays even better after checking out the larger musical spectrum that johnnyrockdog works in. An artist worth watching!

johnnyrockdog.com

Music has always had a way of delivering a message, but sometimes the challenge is striking the right balance between sincerity and accessibility. Quaint Delusions tackle this head-on with their track “Vexing #9,” announcing their intentions right off the bat: “Sorry to be so preachy but dang there's so much to be preachy about! Climate change has arrived, as predicted... Actually, this song could be about anything that vexes anybody. Choose your vexation. Apply liberally.”

"Vexing #9" lands in that sweet spot of mid-tempo psychedelia, offering just enough energy to pull you in without overwhelming. Its catchy vocal lines ride alongside swirling guitar textures, all grounded by a steady drumbeat that keeps the momentum fluid. The push-pull between sections creates a sway-worthy rhythm that feels effortless yet deliberate.

There’s an atmospheric richness here, with layers that shift subtly—guitars drop out, drums re-emerge with added weight, and the dynamics ebb and flow without ever losing the listener. It's lush and textured, but not so much that it obscures its underlying accessibility. In the end, “Vexing #9” is a carefully crafted track with a slightly ambiguous message, delivered with sincerity and a healthy dose of charm.

​It's as thought-provoking as it is easy to sink into, a balance that’s hard to pull off but executed here with finesse.

Inner Sky is a duo comprised of composer/pianist Wendy Loomis and vocalist Barbara Jaspersen. They call their music “pop jazz art songs: moody, poignant, reflective.” To me they sound almost like a chamber group, with Loomis’ classically influenced piano melodies followed very closely by Jaspersen’s lovely, elastic voice. Their new album Inner Sky features nine original songs plus one cover tune from the 1930’s. 

These two artists have been associated for quite some time. Wendy Loomis formed a musical ensemble with poet Royal Kent called COPUS in the late 1990’s. Barbara Jaspersen joined as vocalist almost from the beginning, and the group has released previous albums along with performing live. Aside from this project, Jaspersen is also a film and theater actress, plus lead vocalist for the pop-folk band Stray Muse.

Musically the duo have been compared to Norah Jones, Joni Mitchell, Sarah Vaughan, John Lennon and Debussy. All music and lyrics are by Wendy Loomis except where noted. Recording, mixing and mastering was by Jimmy Hobson at MarinWest Studios in San Anselmo, California. The quality is stellar, with such recording clarity that you feel you’re sharing the room with the two players.

“Lion Circle” begins the album with open arms, as the piano figures are lush, beautiful and totally matched by Jaspersen’s voice. Hopefully I won’t anger the artists, but if you’ve been even slightly moved by the love theme from “Titanic”, there’s a similar vibe here but on much more intimate terms. I’m an idiot without a lyric sheet, but this song seems to be looking back at a sweet love affair while bravely facing the present and future. “You’re Fading” brings the tempo down for a jazz-classical tune that really has that baroque feel. For the first time Jaspersen overdubs harmonies to her own lead vocal and it’s a thrilling addition. The descending, waterfall-like chorus of “you’re fad-ing” anchors the track. 

“Street of Dreams” is a foxtrot from 1932 that’s been covered by many artists including Bing Crosby, Guy Lombardo, Ella Fitzgerald and Patti LuPone, though the version here seems closest to Tony Bennet. Loomis really ups the smoky jazz quality inherent in the music and Jaspersen proves herself capable of matching The Greats with her swinging vocal delivery, featuring many solo moments.  “Angels on the Ground” is another stunning original seemingly set in a Winterscape (I believe the angels on the ground are snow angels!). 

“Spark” features lovely rising vocal harmonies in place of a traditional chorus. It also works as a straight-out love song for me (“You are the light of my soul, morning light”), with some of the jazz touches of Vince Guaraldi. “One Snowy Night” musically reminds of Debussy, confirming a previous reviewer’s discovery. Guest Melissa Finder provides the lyrics. Vocally Jaspersen really scales the heights here. “All Life is Lived” has lyrics adapted from a poem by Rainer Maria Rilke, and the performance is especially dramatic, easily imagined on a darkened theater stage. Almost six minutes, this track features three distinct movements with some especially amazing keyboard moments. The final track “Me!” is a total changeup, playing with the humor found in kids’ sing-alongs or goofy stage shows, as if Mary Poppins lost all her wisdom and decided to make everything about herself. A very fun conclusion.

This album is so good that I clearly was not up to grasping all its many levels of greatness, but I can recommend it without reservation!

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SAGOBA, hailing from Dewitt, MI, crafts a sound that defies easy categorization. “Enrico Was Right” is a prime example of this eclectic approach, blending soul, funk, and rock into a vibrant, groove-heavy track. The song pulses with energy, led by a dreamy organ and a killer bassline, but it’s the vocals that steal the show—dynamic and versatile, showcasing an impressive range. There’s an unpredictability here, as the track shifts gears and even flirts with ballad-like moments.

“Touch the Sky” continues the genre-blurring exploration, with a cinematic sheen and layers of synths and organ that give the song a unique, 80s-inspired feel. There’s an infectious syncopation running through the track, creating bursts of energy that propel it forward. Once again, the vocal delivery is top-notch, pushing the song into even more engaging territory.

“Cheap Imitation” stands out as a personal favorite, dialing into a straight blues groove that’s both laid-back and intensely energetic. The bassline is a standout, and the addition of horns brings a rich texture to the track, making it feel both classic and fresh.

SAGOBA is an artist with an original sound, mixing genres with ease and delivering consistently compelling performances. These tracks are well worth your time.